Watch the NEA Jazz Masters Concert With Stanley Clarke, Cassandra Wilson and More
A Biden Cabinet Secretary For Arts? Advocates Are Hopeful
How Will the Arts Industry Overcome a $6.8 Billion Loss?
Warhol Foundation Awards Bay Area Arts Organizations $482,000
National Endowment for the Arts Awards $1.7 Million to Bay Area Arts Groups
San Francisco Mime Troupe Celebrates 60 Years with 'Treasure Island'
NEA Jazz Masters Announced; Tribute Concert Coming to San Francisco
Due to Government Shutdown, California Humanities Suspends All Arts Grants
NEA Awards $1.7 Million in Grants to Bay Area Organizations
Sponsored
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In addition to music by the honorees, additional performers include Ethan Iverson, Jeremiah Collier, Joe Dyson, Dan Kaufman, Salar Nader, Noriatsu Naraoka, Ruslan Sirota, Ben Street, and Mark Turner, as well as the \u003ca href=\"https://www.sfjazz.org/discover/sfjazz-collective/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ Collective\u003c/a> and Skylar Tang, a 16-year-old trumpeter and a member of the \u003ca href=\"https://www.sfjazz.org/education/ensembles/high-school-all-stars/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ High School All-Stars\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This marks the 40th year of the NEA Jazz Masters program, and the continuation of a partnership between the NEA and SFJAZZ, whose founder, Randall Kline, \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">recently announced\u003c/a> that he will step down from his role in 2023.\u003c/p>\n\n","blocks":[],"excerpt":"The concert broadcasts from SFJAZZ in a free livestream.","status":"publish","parent":0,"modified":1705007021,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":205},"headData":{"title":"Watch the NEA Jazz Masters Concert With Stanley Clarke, Cassandra Wilson, Billy Hart and Donald Harrison, Jr. | KQED","description":"The concert broadcasts from SFJAZZ in a free livestream.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Watch the NEA Jazz Masters Concert With Stanley Clarke, Cassandra Wilson, Billy Hart and Donald Harrison, Jr.%%page%% %%sep%% KQED"},"sticky":false,"WpOldSlug":"watch-the-nea-jazz-masters-concert-with-stanley-clarke-cassandra-wilson-and-more","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13911357/watch-nea-jazz-masters-concert-stanley-clarke-cassandra-wilson-sfjazz","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a big night for jazz in San Francisco.\u003c/p>\n\u003cp>At 7:30pm on Thursday, March 31, SFJAZZ hosts a concert and ceremony to celebrate the recipients of this year’s National Endowment for the Arts Jazz Masters Fellowship: master bassist \u003cstrong>Stanley Clarke\u003c/strong>; lush, inventive vocalist \u003cstrong>Cassandra Wilson\u003c/strong>; indomitable drummer \u003cstrong>Billy Hart\u003c/strong> and New Orleans legend \u003cstrong>Donald Harrison, Jr\u003c/strong>.\u003c/p>\n\u003cp>While the free tickets for the in-person event at SFJAZZ’s Miner Auditorium are already claimed, you can watch all the on-stage music, honors and action, starting at 7:30pm PST, below:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Q1IShN1Uy0Q'\n title='//www.youtube.com/embed/Q1IShN1Uy0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The concert will be hosted by 2018 NEA Jazz Master Diane Reeves. In addition to music by the honorees, additional performers include Ethan Iverson, Jeremiah Collier, Joe Dyson, Dan Kaufman, Salar Nader, Noriatsu Naraoka, Ruslan Sirota, Ben Street, and Mark Turner, as well as the \u003ca href=\"https://www.sfjazz.org/discover/sfjazz-collective/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ Collective\u003c/a> and Skylar Tang, a 16-year-old trumpeter and a member of the \u003ca href=\"https://www.sfjazz.org/education/ensembles/high-school-all-stars/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ High School All-Stars\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This marks the 40th year of the NEA Jazz Masters program, and the continuation of a partnership between the NEA and SFJAZZ, whose founder, Randall Kline, \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">recently announced\u003c/a> that he will step down from his role in 2023.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13911357/watch-nea-jazz-masters-concert-stanley-clarke-cassandra-wilson-sfjazz","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_8355","arts_10278","arts_10363","arts_1730","arts_2048","arts_585"],"featImg":"arts_13911364","label":"arts_140"},"arts_13890905":{"type":"posts","id":"arts_13890905","meta":{"index":"posts_1591205157","site":"arts","id":"13890905","score":null,"sort":[1610060828000]},"guestAuthors":[],"slug":"a-biden-cabinet-secretary-for-arts-advocates-are-hopeful","title":"A Biden Cabinet Secretary For Arts? Advocates Are Hopeful","publishDate":1610060828,"format":"standard","headTitle":"A Biden Cabinet Secretary For Arts? Advocates Are Hopeful | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Arts and culture make up a huge, \u003ca href=\"https://www.arts.gov/about/news/2020/during-economic-highs-and-lows-arts-are-key-segment-us-economy\" target=\"_blank\" rel=\"noopener noreferrer\">$877 billion industry that generates more than five million jobs across the country\u003c/a>. But the amount of federal funding for the arts is tiny when compared with smaller industries like agriculture—so what are arts organizations hoping for under the Biden administration?\u003c/p>\n\u003cp>The National Endowment for the Arts gives grants to organizations across the country—from big ones like Lincoln Center and NPR to small ones like the Wichita Falls Alliance for Arts and Culture. “West Texas Wichita Falls. We’re not in Kansas,” says executive director Margie Reese, who adds that her group used one of their NEA grants to commission regional artists to make murals in economically distressed areas.\u003c/p>\n\u003cp>For Vernon, Texas, 25 year old Selena Mize painted musician and native son, the late Roy Orbison. It was a name Mize didn’t know—until Reese played her one of his songs, “Pretty Woman.” [aside postid='arts_13890625']\u003c/p>\n\u003cp>“At first I didn’t know that was Roy Orbison,” Mize laughs. “I thought it was Elvis Presley.” She says growing up she heard both singers while listening to music with her father and grandparents. Her mural shows Orbison with his trademark dark sunglasses, playing his guitar. She says the attention she got for the work was life-changing. “The community was very excited and open about it, and it’s just something I would never forget.”\u003c/p>\n\u003cp>“This bright, sunshiny mural is bringing pride back to Vernon, Texas,” Reese says. “The power of visual arts to bring a community back to life—this is what our attempt was with that mural.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When it comes to government support of the arts, Reese is a veteran, having worked in the cultural affairs departments in Dallas and Los Angeles. She’s seen presidents and NEA chairs come and go. “When you have a change in administration and a shift in philosophy about arts funding,” she says, “the entire field begins to worry about what’s going to happen, how is this change going to affect us?”\u003c/p>\n\u003cp>“Steady” is the word Reese uses to describe federal arts funding under President Trump. Even though each of his budgets proposed eliminating the arts and humanities endowments—as well as the Institute of Museum and Library Services—Congress rejected the cuts.\u003c/p>\n\u003cp>“There’s a lot of love for libraries and for museums inside the Beltway,” says Crosby Kemper, who was the Trump administration’s pick to head the IMLS. Like the endowments, the Institute distributes grants, conducts research and helps shape policies that affect museums and libraries. Even though Republicans often talk about cutting funding for the arts, Kemper points out that all three budgets have increased slightly over the last three years: “I think you have to look at what actually happens, and what actually happens for the IMLS, the NEA and the NEH is they have a lot of support in the political world—and including inside the administration.” [aside postid='arts_13890207']\u003c/p>\n\u003cp>But for actor Kal Penn, Trump’s rhetoric has been damaging to the arts. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102859368\" target=\"_blank\" rel=\"noopener noreferrer\">Penn was appointed by President Obama to the President’s Committee on the Arts and Humanities\u003c/a>, an advisory group founded in 1982. He had planned to stay on, but after Trump’s handling of the deadly white supremacist rally in Charlottesville, \u003ca href=\"https://news.artnet.com/art-world/resignation-arts-committee-trump-1056158\" target=\"_blank\" rel=\"noopener noreferrer\">he and everyone else on the committee resigned\u003c/a>.\u003c/p>\n\u003cp>“The President’s Committee on the Arts and Humanities was then never relaunched under the Trump administration, just to show you that it really wasn’t a priority at all,” he says.\u003c/p>\n\u003cp>Penn says he wants to see the Biden administration give the Endowments an “astronomical increase.”\u003c/p>\n\u003cp>“I think it’s important now more than ever to be bold,” he says, noting that the arts benefit education, innovation, mental and emotional health. Plus, he says, it’s a good investment.\u003c/p>\n\u003cp>“When you say, okay, well, why did you spend all this money to save this theater—yes, you’re saving the theater, and maybe you’re saving the 500 jobs that the theater provides for the local community, but you’re also then saving the restaurants that people go to the night of the show,” he says. “You’re saving the hotels that the visiting artists stay at. You’re saving, you know, the parking facility. And it may sound like very little, but when you start to multiply that by the numbers of businesses like this that exist around the country, you can see why investing in the arts really makes economic sense.”\u003c/p>\n\u003cp>Earlier this year, the Bureau of Economic Analysis and the National Endowment for the Arts released a report that said the arts contributed 4.5 percent to the country’s GDP in 2017. That’s more than agriculture and transportation. Arts advocate Charles Segars, head of the Ovation TV network, says it’s time for the arts to be taken just as seriously by the White House, by creating a cabinet level Secretary of Arts and Culture. [aside postid='arts_13888399']\u003c/p>\n\u003cp>“It centralizes, in the positive sense of the word, all of the leverage of the United States government. Remember, you have arts pockets throughout the Department of State, Department of Defense. Even Transportation and Agriculture has a taste of that, of arts programs that they help support.”\u003c/p>\n\u003cp>Segars says the Cabinet-level position would also handle intellectual property rights and exports. Years ago, music producer Quincy Jones tried to get Obama to create a Secretary of Arts; it never happened, but Segars says he thinks it’s a realistic goal. “I think it’s going to take time,” he says, “but we all have to talk about it.”\u003c/p>\n\u003cp>Crosby Kemper of the IMLS says he can’t predict what the next administration will do, but he thinks Biden’s personality points in that direction. “I’d say the first and most important thing is that he’s a great lover of Irish poetry and therefore clearly a civilized man.”\u003c/p>\n\u003cp>The Biden transition team did not respond to requests for comment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Biden+Cabinet+Secretary+For+Arts%3F+Advocates+Are+Hopeful&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The arts employ nearly five million people in America. After Trump's mixed record of support, will anything change under Biden?","status":"publish","parent":0,"modified":1705019680,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1108},"headData":{"title":"A Biden Cabinet Secretary For Arts? Advocates Are Hopeful | KQED","description":"The arts employ nearly five million people in America. After Trump's mixed record of support, will anything change under Biden?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Elizabeth Blair","nprImageAgency":"Ann Arnold-Ogden","nprStoryId":"953937793","nprApiLink":"http://api.npr.org/query?id=953937793&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/01/07/953937793/a-biden-cabinet-secretary-for-arts-advocates-are-hopeful?ft=nprml&f=953937793","nprRetrievedStory":"1","nprPubDate":"Thu, 07 Jan 2021 16:06:00 -0500","nprStoryDate":"Thu, 07 Jan 2021 16:03:00 -0500","nprLastModifiedDate":"Thu, 07 Jan 2021 16:32:45 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/01/20210107_atc_a_biden_cabinet_secretary_for_arts_advocates_are_hopeful.mp3?orgId=1&topicId=1008&d=331&p=2&story=953937793&ft=nprml&f=953937793","nprAudioM3u":"http://api.npr.org/m3u/1954562194-fda8b1.m3u?orgId=1&topicId=1008&d=331&p=2&story=953937793&ft=nprml&f=953937793","templateType":"standard","featuredImageType":"standard","path":"/arts/13890905/a-biden-cabinet-secretary-for-arts-advocates-are-hopeful","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/01/20210107_atc_a_biden_cabinet_secretary_for_arts_advocates_are_hopeful.mp3?orgId=1&topicId=1008&d=331&p=2&story=953937793&ft=nprml&f=953937793","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arts and culture make up a huge, \u003ca href=\"https://www.arts.gov/about/news/2020/during-economic-highs-and-lows-arts-are-key-segment-us-economy\" target=\"_blank\" rel=\"noopener noreferrer\">$877 billion industry that generates more than five million jobs across the country\u003c/a>. But the amount of federal funding for the arts is tiny when compared with smaller industries like agriculture—so what are arts organizations hoping for under the Biden administration?\u003c/p>\n\u003cp>The National Endowment for the Arts gives grants to organizations across the country—from big ones like Lincoln Center and NPR to small ones like the Wichita Falls Alliance for Arts and Culture. “West Texas Wichita Falls. We’re not in Kansas,” says executive director Margie Reese, who adds that her group used one of their NEA grants to commission regional artists to make murals in economically distressed areas.\u003c/p>\n\u003cp>For Vernon, Texas, 25 year old Selena Mize painted musician and native son, the late Roy Orbison. It was a name Mize didn’t know—until Reese played her one of his songs, “Pretty Woman.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890625","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At first I didn’t know that was Roy Orbison,” Mize laughs. “I thought it was Elvis Presley.” She says growing up she heard both singers while listening to music with her father and grandparents. Her mural shows Orbison with his trademark dark sunglasses, playing his guitar. She says the attention she got for the work was life-changing. “The community was very excited and open about it, and it’s just something I would never forget.”\u003c/p>\n\u003cp>“This bright, sunshiny mural is bringing pride back to Vernon, Texas,” Reese says. “The power of visual arts to bring a community back to life—this is what our attempt was with that mural.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it comes to government support of the arts, Reese is a veteran, having worked in the cultural affairs departments in Dallas and Los Angeles. She’s seen presidents and NEA chairs come and go. “When you have a change in administration and a shift in philosophy about arts funding,” she says, “the entire field begins to worry about what’s going to happen, how is this change going to affect us?”\u003c/p>\n\u003cp>“Steady” is the word Reese uses to describe federal arts funding under President Trump. Even though each of his budgets proposed eliminating the arts and humanities endowments—as well as the Institute of Museum and Library Services—Congress rejected the cuts.\u003c/p>\n\u003cp>“There’s a lot of love for libraries and for museums inside the Beltway,” says Crosby Kemper, who was the Trump administration’s pick to head the IMLS. Like the endowments, the Institute distributes grants, conducts research and helps shape policies that affect museums and libraries. Even though Republicans often talk about cutting funding for the arts, Kemper points out that all three budgets have increased slightly over the last three years: “I think you have to look at what actually happens, and what actually happens for the IMLS, the NEA and the NEH is they have a lot of support in the political world—and including inside the administration.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890207","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for actor Kal Penn, Trump’s rhetoric has been damaging to the arts. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102859368\" target=\"_blank\" rel=\"noopener noreferrer\">Penn was appointed by President Obama to the President’s Committee on the Arts and Humanities\u003c/a>, an advisory group founded in 1982. He had planned to stay on, but after Trump’s handling of the deadly white supremacist rally in Charlottesville, \u003ca href=\"https://news.artnet.com/art-world/resignation-arts-committee-trump-1056158\" target=\"_blank\" rel=\"noopener noreferrer\">he and everyone else on the committee resigned\u003c/a>.\u003c/p>\n\u003cp>“The President’s Committee on the Arts and Humanities was then never relaunched under the Trump administration, just to show you that it really wasn’t a priority at all,” he says.\u003c/p>\n\u003cp>Penn says he wants to see the Biden administration give the Endowments an “astronomical increase.”\u003c/p>\n\u003cp>“I think it’s important now more than ever to be bold,” he says, noting that the arts benefit education, innovation, mental and emotional health. Plus, he says, it’s a good investment.\u003c/p>\n\u003cp>“When you say, okay, well, why did you spend all this money to save this theater—yes, you’re saving the theater, and maybe you’re saving the 500 jobs that the theater provides for the local community, but you’re also then saving the restaurants that people go to the night of the show,” he says. “You’re saving the hotels that the visiting artists stay at. You’re saving, you know, the parking facility. And it may sound like very little, but when you start to multiply that by the numbers of businesses like this that exist around the country, you can see why investing in the arts really makes economic sense.”\u003c/p>\n\u003cp>Earlier this year, the Bureau of Economic Analysis and the National Endowment for the Arts released a report that said the arts contributed 4.5 percent to the country’s GDP in 2017. That’s more than agriculture and transportation. Arts advocate Charles Segars, head of the Ovation TV network, says it’s time for the arts to be taken just as seriously by the White House, by creating a cabinet level Secretary of Arts and Culture. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13888399","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It centralizes, in the positive sense of the word, all of the leverage of the United States government. Remember, you have arts pockets throughout the Department of State, Department of Defense. Even Transportation and Agriculture has a taste of that, of arts programs that they help support.”\u003c/p>\n\u003cp>Segars says the Cabinet-level position would also handle intellectual property rights and exports. Years ago, music producer Quincy Jones tried to get Obama to create a Secretary of Arts; it never happened, but Segars says he thinks it’s a realistic goal. “I think it’s going to take time,” he says, “but we all have to talk about it.”\u003c/p>\n\u003cp>Crosby Kemper of the IMLS says he can’t predict what the next administration will do, but he thinks Biden’s personality points in that direction. “I’d say the first and most important thing is that he’s a great lover of Irish poetry and therefore clearly a civilized man.”\u003c/p>\n\u003cp>The Biden transition team did not respond to requests for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Biden+Cabinet+Secretary+For+Arts%3F+Advocates+Are+Hopeful&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890905/a-biden-cabinet-secretary-for-arts-advocates-are-hopeful","authors":["byline_arts_13890905"],"categories":["arts_1","arts_235"],"tags":["arts_1753","arts_7072","arts_1730"],"affiliates":["arts_137"],"featImg":"arts_13890906","label":"arts_137"},"arts_13880871":{"type":"posts","id":"arts_13880871","meta":{"index":"posts_1591205157","site":"arts","id":"13880871","score":null,"sort":[1590096763000]},"guestAuthors":[],"slug":"how-will-the-arts-industry-overcome-a-6-8-billion-loss","title":"How Will the Arts Industry Overcome a $6.8 Billion Loss?","publishDate":1590096763,"format":"standard","headTitle":"How Will the Arts Industry Overcome a $6.8 Billion Loss? | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>As the framework for what the art world looks like post-pandemic takes shape, financial underpinnings threaten collapse, leaving those in the industry (and beyond) to brace for what comes next. With ticket sales stalled and many artists out of work, a new study reveals that the nonprofit arts and culture sector faces an estimated $6.8 billion loss — the equivalent to an average 26% deficit among organizations. But using these numbers as signposts, the report also lays down a roadmap to move forward.\u003c/p>\n\u003cp>Titled “\u003ca href=\"https://culturaldata.org/pages/long-haul/\" rel=\"noopener noreferrer\" target=\"_blank\">In It for the Long Haul\u003c/a>,” the study culls data from 35,000 United States nonprofit arts organizations with annual operating budgets over $50,000 to detail what issues cultural institutions are facing and what steps could lead to potential recovery. Presented by SMU DataArts and TRG Arts, the report draws from surveys conducted about closures, layoffs and impact to date, and operates under the estimate that a majority of the organizations included will be able to resume activity this October while taking into account that every “reopen” will hit differently.\u003c/p>\n\u003cp>The likelihood of a slow return to normalcy and social scarring are built into the study’s projections for recovery. Based on a combination of lost revenue and expense reductions (meaning cuts in staff and business expenses), the report lays out four questions for organizations to consider: What the next year might look like, what an organization’s strengths are, how it will manage people and revenue propositions, and who will gather when doors reopen.\u003c/p>\n\u003cp>“Cultural organizations’ strategy and structure will have to adapt to these environmental changes,” co-authors Zannie Giraud Voss, director of SMU DataArts, and Jill Robinson, CEO of TRG Arts, said. “The field of nonprofit arts and culture is unlikely to return to its pre-COVID state for the foreseeable future, if ever.”\u003c/p>\n\u003cp>They continue: “‘Business as usual’ will mean something different. Seeing ahead to what that ‘usual’ will look like is obscured by the current environment’s complexity, dynamism, resource scarcity and uncertainty.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Andrew W. Mellon Foundation, an ALL ARTS funder, facilitated the gathering of data for the report, culling findings from member surveys conducted by Theatre Communications Group, Association of Art Museum Directors, Association of Performing Arts Professionals, the League of American Orchestras, Chamber Music America, the International Association of Blacks in Dance and First Peoples Fund.\u003c/p>\n\u003cp>Drawing from this data and historical research, the report indicates that not all institutions will be able to weather these hardships — with those in precarious positions prior to the closures at most risk. This projection echoes other recent conclusions — such as \u003ca href=\"https://www.americansforthearts.org/news-room/americans-for-the-arts-news/covid-19-impact-on-the-arts-research-update-may-4-2020\" rel=\"noopener noreferrer\" target=\"_blank\">Americans for the Arts’ findings\u003c/a> that 10% of organizations surveyed are “not confident” they will reopen after the COVID-19 pandemic allows safe gathering.\u003c/p>\n\u003cp>“Not all of our beloved organizations will survive this crisis, irrespective of their size,” the report’s authors said. “Those with underlying issues heading into it, such as negative working capital and declining participation, are most susceptible to insolvency.”\u003c/p>\n\u003cp>On the flip side, the study also concludes that “those that headed into the crisis with relatively lower fixed costs, adaptive capabilities, cash reserves, strong community ties and a solid store of relational capital with a base of repeat customers and funders have greater odds of not only surviving, but reviving.”\u003c/p>\n\u003cp>As a major source of national income, the health of the arts community is vital to the overall recovery of the economy. According to the National Endowment for the Arts, the creative industry drives \u003ca href=\"https://allarts.org/2020/03/how-vital-are-the-arts-to-the-economy-very-new-study-finds/\" rel=\"noopener noreferrer\" target=\"_blank\">4.5% of U.S. gross domestic product\u003c/a> — equaling out to $877.8 billion in 2017. The Americans for the Arts survey concluded that the economic impact of losses among the arts community is $1.9 billion in government revenue, with 328,000 jobs “no longer being supported.”\u003c/p>\n\u003cp>Noting the role of arts as a community resource, the report repeatedly states that those organizations that are able to see not only the short-term effects of the crisis but also the longer-term picture stand a better chance of surviving.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Change will happen, for better or for worse,” Voss and Robinson said. “Those who have the bandwidth to think beyond near-term survival have an opportunity to contemplate the organization’s core values, strengths, and purpose coming out of this crisis.”\u003c/p>\n\n","blocks":[],"excerpt":"While the forecast for arts organizations is dire, a new study lays out four questions to consider for recovery.","status":"publish","parent":0,"modified":1705020694,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":751},"headData":{"title":"How Will the Arts Industry Overcome a $6.8 Billion Loss? | KQED","description":"While the forecast for arts organizations is dire, a new study lays out four questions to consider for recovery.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Britt Stigler, All Arts","templateType":"standard","featuredImageType":"standard","path":"/arts/13880871/how-will-the-arts-industry-overcome-a-6-8-billion-loss","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the framework for what the art world looks like post-pandemic takes shape, financial underpinnings threaten collapse, leaving those in the industry (and beyond) to brace for what comes next. With ticket sales stalled and many artists out of work, a new study reveals that the nonprofit arts and culture sector faces an estimated $6.8 billion loss — the equivalent to an average 26% deficit among organizations. But using these numbers as signposts, the report also lays down a roadmap to move forward.\u003c/p>\n\u003cp>Titled “\u003ca href=\"https://culturaldata.org/pages/long-haul/\" rel=\"noopener noreferrer\" target=\"_blank\">In It for the Long Haul\u003c/a>,” the study culls data from 35,000 United States nonprofit arts organizations with annual operating budgets over $50,000 to detail what issues cultural institutions are facing and what steps could lead to potential recovery. Presented by SMU DataArts and TRG Arts, the report draws from surveys conducted about closures, layoffs and impact to date, and operates under the estimate that a majority of the organizations included will be able to resume activity this October while taking into account that every “reopen” will hit differently.\u003c/p>\n\u003cp>The likelihood of a slow return to normalcy and social scarring are built into the study’s projections for recovery. Based on a combination of lost revenue and expense reductions (meaning cuts in staff and business expenses), the report lays out four questions for organizations to consider: What the next year might look like, what an organization’s strengths are, how it will manage people and revenue propositions, and who will gather when doors reopen.\u003c/p>\n\u003cp>“Cultural organizations’ strategy and structure will have to adapt to these environmental changes,” co-authors Zannie Giraud Voss, director of SMU DataArts, and Jill Robinson, CEO of TRG Arts, said. “The field of nonprofit arts and culture is unlikely to return to its pre-COVID state for the foreseeable future, if ever.”\u003c/p>\n\u003cp>They continue: “‘Business as usual’ will mean something different. Seeing ahead to what that ‘usual’ will look like is obscured by the current environment’s complexity, dynamism, resource scarcity and uncertainty.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Andrew W. Mellon Foundation, an ALL ARTS funder, facilitated the gathering of data for the report, culling findings from member surveys conducted by Theatre Communications Group, Association of Art Museum Directors, Association of Performing Arts Professionals, the League of American Orchestras, Chamber Music America, the International Association of Blacks in Dance and First Peoples Fund.\u003c/p>\n\u003cp>Drawing from this data and historical research, the report indicates that not all institutions will be able to weather these hardships — with those in precarious positions prior to the closures at most risk. This projection echoes other recent conclusions — such as \u003ca href=\"https://www.americansforthearts.org/news-room/americans-for-the-arts-news/covid-19-impact-on-the-arts-research-update-may-4-2020\" rel=\"noopener noreferrer\" target=\"_blank\">Americans for the Arts’ findings\u003c/a> that 10% of organizations surveyed are “not confident” they will reopen after the COVID-19 pandemic allows safe gathering.\u003c/p>\n\u003cp>“Not all of our beloved organizations will survive this crisis, irrespective of their size,” the report’s authors said. “Those with underlying issues heading into it, such as negative working capital and declining participation, are most susceptible to insolvency.”\u003c/p>\n\u003cp>On the flip side, the study also concludes that “those that headed into the crisis with relatively lower fixed costs, adaptive capabilities, cash reserves, strong community ties and a solid store of relational capital with a base of repeat customers and funders have greater odds of not only surviving, but reviving.”\u003c/p>\n\u003cp>As a major source of national income, the health of the arts community is vital to the overall recovery of the economy. According to the National Endowment for the Arts, the creative industry drives \u003ca href=\"https://allarts.org/2020/03/how-vital-are-the-arts-to-the-economy-very-new-study-finds/\" rel=\"noopener noreferrer\" target=\"_blank\">4.5% of U.S. gross domestic product\u003c/a> — equaling out to $877.8 billion in 2017. The Americans for the Arts survey concluded that the economic impact of losses among the arts community is $1.9 billion in government revenue, with 328,000 jobs “no longer being supported.”\u003c/p>\n\u003cp>Noting the role of arts as a community resource, the report repeatedly states that those organizations that are able to see not only the short-term effects of the crisis but also the longer-term picture stand a better chance of surviving.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Change will happen, for better or for worse,” Voss and Robinson said. “Those who have the bandwidth to think beyond near-term survival have an opportunity to contemplate the organization’s core values, strengths, and purpose coming out of this crisis.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13880871/how-will-the-arts-industry-overcome-a-6-8-billion-loss","authors":["byline_arts_13880871"],"categories":["arts_1","arts_235"],"tags":["arts_2552","arts_10126","arts_1730"],"featImg":"arts_13880877","label":"arts"},"arts_13873585":{"type":"posts","id":"arts_13873585","meta":{"index":"posts_1591205157","site":"arts","id":"13873585","score":null,"sort":[1579653058000]},"guestAuthors":[],"slug":"warhol-foundation-awards-bay-area-arts-organizations-482000","title":"Warhol Foundation Awards Bay Area Arts Organizations $482,000","publishDate":1579653058,"format":"standard","headTitle":"Warhol Foundation Awards Bay Area Arts Organizations $482,000 | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>On Thursday, the Andy Warhol Foundation for the Visual Arts announced seven grants totaling $482,000 for Bay Area arts organizations and curators. This is part of $3.93 million in awards distributed nationally. [aside postID=arts_13873401,arts_13873232]\u003c/p>\n\u003cp>The local institutional recipients, selected from more than 250 applicants for fall funding, are Berkeley Art Museum and Pacfic Film Archive (BAMPFA), Oakland Museum of California (OMCA), San Francisco Art Institute (SFAI) and Canyon Cinema. Curators at BAMPFA, the Asian Art Museum of San Francisco and San Jose Museum of Art, also received research support. \u003c/p>\n\u003cp>BAMPFA received $100,000 for \u003cem>New Time: Art and Feminism in the 21st Century\u003c/em>, a survey of recent feminist art practices. The show anchors nationwide programming by dozens of institutions in the \u003ca href=\"https://feministartcoalition.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Feminist Art Coalition\u003c/a> during the 2020 presidential election. The coalition itself evolved from BAMPFA curator Apsara DiQuinzio’s Warhol Foundation-supported work in 2017. \u003c/p>\n\u003cp>The foundation also awarded OMCA $75,000 in exhibition support for \u003cem>Mothership: An Exploration into Afrofuturism\u003c/em>, and SFAI received $100,000 for \u003cem>Carlos Villa: A Retrospective of Ritual and Action\u003c/em>. Meanwhile, Canyon Cinema, the avant-garde and experimental film distributor in San Francisco, received a $60,000 grant for program support over two years. \u003c/p>\n\u003cp>The Bay Area was also well-represented in the Warhol Foundation’s curatorial research grant category, with local curators receiving three of seven awards ranging from $47,000 to $50,000. Their projects will shine new light on little-known international art movements and artists’ roles in political revolutions, eventually yielding scholarship and exhibitions, according to the announcement. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13847147/curator-abby-chen-to-head-asian-art-museums-contemporary-art-department\" rel=\"noopener noreferrer\" target=\"_blank\">Abby Chen\u003c/a>, head of the Asian Art Museum of San Francisco’s contemporary art department, is investigating Hong Kong artist-activists’ response to recent political turmoil. Lauren Schell Dickens, senior curator at the San Jose Museum of Art, is focused on themes of nationhood, identity, migration and colonialism in Filipino art, and BAMPFA’s senior film curator Susan Oxtoby is examining Indian cinema with an eye toward surfacing the work of women filmmakers. \u003c/p>\n\u003cp>In a statement, foundation president Joel Wachs said the selection “highlights the foundation’s commitment to art and exhibition-making that takes risks, and to its belief that artists are key contributors to sociopolitical and critical conversations taking place across the country.” \u003c/p>\n\u003cp>Rachel Bers, the foundation’s program director, made a similar statement. “In a moment when so much is at stake politically, socially and culturally, we are heartened to see such robust artistic engagement with the complexities, inequities and challenges of our time,” Bers said.\u003c/p>\n\u003cp>This funding round brings the Warhol Foundation’s total grants for the year to $7.94 million.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The announcement \u003ca href=\"https://www.kqed.org/arts/13873401/national-endowment-for-the-arts-awards-1-7-million-to-bay-area-arts-groups\" target=\"_blank\" rel=\"noopener noreferrer\">follows\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13873232/3-bay-area-artists-receive-100000-creative-capital-grants\" target=\"_blank\" rel=\"noopener noreferrer\">news\u003c/a> of millions of dollars in funding for other local artists and arts organizations from national grant-makers Creative Capital and National Endowment for the Arts. \u003c/p>\n\n","blocks":[],"excerpt":"Among the recipients, BAMPFA received $100,000 for an exhibition anchoring nationwide programming by institutions in the Feminist Art Coalition. ","status":"publish","parent":0,"modified":1705021458,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":481},"headData":{"title":"Warhol Foundation Awards Bay Area Arts Organizations $482,000 | KQED","description":"Among the recipients, BAMPFA received $100,000 for an exhibition anchoring nationwide programming by institutions in the Feminist Art Coalition. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13873585/warhol-foundation-awards-bay-area-arts-organizations-482000","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Thursday, the Andy Warhol Foundation for the Visual Arts announced seven grants totaling $482,000 for Bay Area arts organizations and curators. This is part of $3.93 million in awards distributed nationally. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13873401,arts_13873232","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The local institutional recipients, selected from more than 250 applicants for fall funding, are Berkeley Art Museum and Pacfic Film Archive (BAMPFA), Oakland Museum of California (OMCA), San Francisco Art Institute (SFAI) and Canyon Cinema. Curators at BAMPFA, the Asian Art Museum of San Francisco and San Jose Museum of Art, also received research support. \u003c/p>\n\u003cp>BAMPFA received $100,000 for \u003cem>New Time: Art and Feminism in the 21st Century\u003c/em>, a survey of recent feminist art practices. The show anchors nationwide programming by dozens of institutions in the \u003ca href=\"https://feministartcoalition.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Feminist Art Coalition\u003c/a> during the 2020 presidential election. The coalition itself evolved from BAMPFA curator Apsara DiQuinzio’s Warhol Foundation-supported work in 2017. \u003c/p>\n\u003cp>The foundation also awarded OMCA $75,000 in exhibition support for \u003cem>Mothership: An Exploration into Afrofuturism\u003c/em>, and SFAI received $100,000 for \u003cem>Carlos Villa: A Retrospective of Ritual and Action\u003c/em>. Meanwhile, Canyon Cinema, the avant-garde and experimental film distributor in San Francisco, received a $60,000 grant for program support over two years. \u003c/p>\n\u003cp>The Bay Area was also well-represented in the Warhol Foundation’s curatorial research grant category, with local curators receiving three of seven awards ranging from $47,000 to $50,000. Their projects will shine new light on little-known international art movements and artists’ roles in political revolutions, eventually yielding scholarship and exhibitions, according to the announcement. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13847147/curator-abby-chen-to-head-asian-art-museums-contemporary-art-department\" rel=\"noopener noreferrer\" target=\"_blank\">Abby Chen\u003c/a>, head of the Asian Art Museum of San Francisco’s contemporary art department, is investigating Hong Kong artist-activists’ response to recent political turmoil. Lauren Schell Dickens, senior curator at the San Jose Museum of Art, is focused on themes of nationhood, identity, migration and colonialism in Filipino art, and BAMPFA’s senior film curator Susan Oxtoby is examining Indian cinema with an eye toward surfacing the work of women filmmakers. \u003c/p>\n\u003cp>In a statement, foundation president Joel Wachs said the selection “highlights the foundation’s commitment to art and exhibition-making that takes risks, and to its belief that artists are key contributors to sociopolitical and critical conversations taking place across the country.” \u003c/p>\n\u003cp>Rachel Bers, the foundation’s program director, made a similar statement. “In a moment when so much is at stake politically, socially and culturally, we are heartened to see such robust artistic engagement with the complexities, inequities and challenges of our time,” Bers said.\u003c/p>\n\u003cp>This funding round brings the Warhol Foundation’s total grants for the year to $7.94 million.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The announcement \u003ca href=\"https://www.kqed.org/arts/13873401/national-endowment-for-the-arts-awards-1-7-million-to-bay-area-arts-groups\" target=\"_blank\" rel=\"noopener noreferrer\">follows\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13873232/3-bay-area-artists-receive-100000-creative-capital-grants\" target=\"_blank\" rel=\"noopener noreferrer\">news\u003c/a> of millions of dollars in funding for other local artists and arts organizations from national grant-makers Creative Capital and National Endowment for the Arts. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13873585/warhol-foundation-awards-bay-area-arts-organizations-482000","authors":["11091"],"programs":["arts_1272"],"categories":["arts_1","arts_70"],"tags":["arts_3560","arts_2227","arts_1118","arts_1730","arts_596","arts_2755"],"featImg":"arts_11283308","label":"arts_1272"},"arts_13873401":{"type":"posts","id":"arts_13873401","meta":{"index":"posts_1591205157","site":"arts","id":"13873401","score":null,"sort":[1579190447000]},"guestAuthors":[],"slug":"national-endowment-for-the-arts-awards-1-7-million-to-bay-area-arts-groups","title":"National Endowment for the Arts Awards $1.7 Million to Bay Area Arts Groups","publishDate":1579190447,"format":"standard","headTitle":"National Endowment for the Arts Awards $1.7 Million to Bay Area Arts Groups | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>The National Endowment for the Arts (NEA) on Wednesday \u003ca href=\"https://www.arts.gov/news/2020/national-endowment-arts-announces-arts-project-grants-all-50-states-district-columbia-and\">announced\u003c/a> 1,187 grants totaling $27.3 million for arts organizations in every state in the nation, as well as the District of Columbia and Puerto Rico, including $1,730,000 for 72 groups in the nine-county Bay Area. [aside postID=arts_13873232,arts_13849264,arts_13831888]\u003c/p>\n\u003cp>The recipients include literary, film, dance, theater, music and visual arts organizations from granite-stepped institutions to tiny enterprises. All of the projects “connect people through shared experiences and artistic expression,” NEA chair Mary Anne Carter said in a statement.\u003c/p>\n\u003cp>New projects supported include San Francisco Museum of Modern Art’s Dawoud Bey photography retrospective; Anne Bluethenthal and Dancers collaboration with Skywatchers ensemble, \u003cem>Life in the Containment Zone\u003c/em>; playwright Ricardo Pérez González’s premiere \u003cem>Don’t Eat the Mangos\u003c/em>; and choreographer Deborah Slater’s \u003cem>inCIVILITY: A Seat at the Table\u003c/em>. \u003c/p>\n\u003cp>Grants in the “Art Works” category range $10,000-$100,000 and recognize projects that celebrate creativity and cultural heritage, while the $10,000 “Challenge America” awards support small and mid-sized organizations serving remote or marginalized populations. \u003c/p>\n\u003cp>President Donald Trump has for the past three years in a row proposed eliminating the NEA and its sister agency the National Endowment for the Humanities entirely. Congress has each time rejected Trump’s proposal, and last year actually boosted the agencies budgets by millions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Creative Capital, the New York grant-making outfit formed 20 years ago in part to counter deep 1990s cuts to the NEA, also on Wednesday announced $100,000 awards for three local artists. \u003c/p>\n\u003cp>Below is a complete list of the local organizations to receive NEA funding this year. \u003c/p>\n\u003cp>Berkeley Repertory Theatre (aka Berkeley Rep)\u003cbr>\n$50,000 Berkeley, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the creation and development of new work in The Ground Floor program.\u003c/p>\n\u003cp>California Shakespeare Theater (aka Cal Shakes)\u003cbr>\n$30,000 Berkeley, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the creation and the world premiere production of a new play by Leila Buck and Evren Odcikin, and related project activities. \u003c/p>\n\u003cp>Central Works\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the development and world premiere production of Tres Hermanas, a new play by Cristina Garcia. \u003c/p>\n\u003cp>Kala Institute\u003cbr>\n$25,000 Berkeley, CA\u003cbr>\nArt Works – Artist\u003cbr>\nCommunities To support residencies for artists working in print and digital media. \u003c/p>\n\u003cp>Small Press Distribution, Inc. (aka SPD)\u003cbr>\n$60,000 Berkeley, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support services to literary small press publishers, including the distribution and marketing of books.\u003c/p>\n\u003cp>Aimusic School\u003cbr>\n$20,000 Cupertino, CA\u003cbr>\nArt Works – Folk & Traditional Arts\u003cbr>\nTo support performances of traditional Chinese music and related educational activities.\u003c/p>\n\u003cp>Healdsburg Jazz Festival, Inc. (aka Healdsburg Jazz)\u003cbr>\n$20,000 Healdsburg, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support Artist and Inspiration: A Woman’s Spirit in Sound performances at the Healdsburg Jazz Festival.\u003c/p>\n\u003cp>API Cultural Center (aka Oakland Asian Cultural Center (OACC))\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support a performing arts program focused on world music and traditional Vietnamese instruments\u003c/p>\n\u003cp>AXIS Dance Company (aka AXIS)\u003cbr>\n$30,000 Oakland, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support a national tour of dance performances and engagement activities.\u003c/p>\n\u003cp>Bay Area Children’s Theatre (aka BACT)\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a Theatre for the Very Young production of Wheels on the Bus. \u003c/p>\n\u003cp>California Humanities\u003cbr>\n$20,000 Oakland, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support a touring program of independent films at community colleges throughout California. \u003c/p>\n\u003cp>Creative Growth, Inc.\u003cbr>\n$55,000 Oakland, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support programming for artists with disabilities. \u003c/p>\n\u003cp>Destiny Arts Center (aka Destiny or Destiny Arts)\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support spoken word and dance programming for youth. \u003c/p>\n\u003cp>Living Jazz\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support a music concert honoring Dr. Martin Luther King, Jr. \u003c/p>\n\u003cp>Omnira Institute\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support the Black-Eyed Pea Festival, a celebration of African-American music and art. \u003c/p>\n\u003cp>Project Bandaloop (aka BANDALOOP)\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the creation of a comprehensive archival plan with an in-house consultant versed in digital archiving.\u003c/p>\n\u003cp>Transit Books\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support the publication and promotion of books of fiction and nonfiction, including work in translation.\u003c/p>\n\u003cp>Djerassi Resident Artists Program\u003cbr>\n$35,000 Redwood City, CA\u003cbr>\nArt Works – Artist Communities\u003cbr>\nTo support artist residencies as part of the Playwright’s Initiative. \u003c/p>\n\u003cp>East Bay Center for the Performing Arts\u003cbr>\n$40,000 Richmond, CA\u003cbr>\nArt Works – Arts Education\u003cbr>\nTo support the Young Artist Diploma Program, a multidisciplinary arts education program for middle and high school students. \u003c/p>\n\u003cp>3rd I South Asian Independent Film (aka 3rd i Films)\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support 3rd i Films’ San Francisco International South Asian Film Festival and associated public programming. \u003c/p>\n\u003cp>Abada-Capoeira San Francisco\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Folk & Traditional Arts\u003cbr>\nTo support a series of educational workshops and a culminating performance. \u003c/p>\n\u003cp>American Conservatory Theatre Foundation (aka American Conservatory Theater)\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a production of Toni Stone by Lydia R. Diamond. \u003c/p>\n\u003cp>Anne Bluethenthal and Dancers (aka ABD Productions)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the presentation of Life in the Containment Zone, directed by choreographer Anne Bluethenthal in collaboration with the ensemble Skywatchers. \u003c/p>\n\u003cp>Art of the Matter Performance Foundation (aka Deborah Slater Dance Theater)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the premiere of inCIVILITY: A Seat at the Table by choreographer Deborah Slater. \u003c/p>\n\u003cp>Asian Pacific Islander Cultural Center (aka APICC)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nChallenge America\u003cbr>\nTo support The United States of Asian America Festival, a multidisciplinary arts festival celebrating Asian and Pacific Islander American culture.\u003c/p>\n\u003cp>Bay Area Video Coalition, Inc. (aka BAVC)\u003cbr>\n$40,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the provision of video and audio preservation services.\u003c/p>\n\u003cp>California Lawyers for the Arts, Inc.\u003cbr>\n$60,000 San Francisco, CA\u003cbr>\nArt Works – Local Arts Agencies\u003cbr>\nTo support a multistate expansion of the Arts in Corrections Initiative. \u003c/p>\n\u003cp>Canyon Cinema Foundation (aka Canyon Cinema)\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support a curatorial fellowship, screening series, and national touring program of experimental film and video works. \u003c/p>\n\u003cp>Center for Asian American Media (aka CAAM)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support CAAMFest, a media arts festival that showcases the work of Asian and Asian-American artists, and related public programming. \u003c/p>\n\u003cp>Center for the Art of Translation\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support the publication and promotion of international literature. \u003c/p>\n\u003cp>Chinese Culture Foundation of San Francisco (aka Chinese Culture Center)\u003cbr>\n$40,000 San Francisco, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support an exhibition exploring issues related to gender equity, civil rights, and inclusion. \u003c/p>\n\u003cp>City and County of San Francisco, California\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works – Local Arts Agencies\u003cbr>\nTo support a series of visual arts exhibitions and related programming commemorating the 50th anniversary of the San Francisco Arts Commission Galleries.\u003c/p>\n\u003cp>CounterPulse\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the Artist Residency and Commissioning (ARC) program, which provides space and support for emerging and mid-career choreographers.\u003c/p>\n\u003cp>Crowded Fire Theater Company (aka Crowded Fire)\u003cbr>\n$10,000\u003cbr>\nSan Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a production of The Displaced by Isaac Gomez. \u003c/p>\n\u003cp>Eyes and Ears Foundation (aka San Francisco International Arts Festival)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Presenting & Multidisciplinary Works\u003cbr>\nTo support artist fees and travel stipends as part of the San Francisco International Arts Festival. \u003c/p>\n\u003cp>Flyaway Productions\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support performances of Meet Us Quickly With Your Mercy by choreographer Jo Kreiter. \u003c/p>\n\u003cp>foolsFURY Theater Company (aka foolsFURY)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the FURY Factory Festival of Ensemble and Devised Theater. \u003c/p>\n\u003cp>Frameline\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the 44th San Francisco International LGBTQ+ Film Festival and Frameline Encore, a free year-round film exhibition program. \u003c/p>\n\u003cp>Golden Thread Productions\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a co-production of At The Periphery by Sedef Ecer, in a new translation by Evren Odcikin. \u003c/p>\n\u003cp>Gray Area Foundation for the Arts, Inc (aka Gray Area)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the Gray Area Festival and associated public programs.\u003c/p>\n\u003cp>Inneract Project, Inc\u003cbr>\n$20,000 SAN FRANCISCO, CA\u003cbr>\nArt Works – Design\u003cbr>\nTo support the Youth Design Academy, a series of programs introducing design concepts to middle and high school students.\u003c/p>\n\u003cp>Jewish Community Center of San Francisco (aka JCCSF)\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Presenting & Multidisciplinary Works\u003cbr>\nTo support arts programming components of the Re-imagine Freedom series. \u003c/p>\n\u003cp>Kronos Performing Arts Association (aka Kronos Quartet)\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support the Kronos Festival. \u003c/p>\n\u003cp>Magic Theatre, Inc.\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the world premiere production of Don’t Eat the Mangos, a new play by Ricardo Pérez González. \u003c/p>\n\u003cp>ODC (aka ODC/Dance)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the creation and presentation of Decameron, Up for Air, a new dance work by ODC/Dance. \u003c/p>\n\u003cp>ODC Theater\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the creation and presentation of dance works as part of the performance series Interventions and Collaborations. \u003c/p>\n\u003cp>Open Architecture Collaborative, Inc.\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works – Design\u003cbr>\nTo support Pathways to Equity Fellowship, a leadership development program for community design practitioners. \u003c/p>\n\u003cp>Opera Parallele\u003cbr>\n$30,000 San Francisco, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support the world premiere of a revised and re-orchestrated production of Harvey Milk by composer Stewart Wallace and librettist Michael Korie.\u003c/p>\n\u003cp>Other Minds\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support the 25th annual Other Minds new music festival.\u003c/p>\n\u003cp>Philharmonia Baroque Orchestra and Chorale\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support performances of Aci, Galatea, e Polifemo by George Frideric Handel, with re-imagined recitatives by composer and sound designer Mark Grey. \u003c/p>\n\u003cp>Root Division\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support the Second Saturday Exhibition Series, a collection of visual arts events and presentations of work by Bay Area artists. \u003c/p>\n\u003cp>San Francisco Cinematheque\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support public engagement activities for Crossroads 2020, a festival dedicated to experimental film, video, and performance-based cinema. \u003c/p>\n\u003cp>San Francisco Film Society (aka SFFILM)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the San Francisco International Film Festival and other curated film series. \u003c/p>\n\u003cp>San Francisco Green Film Festival (aka Green Film Fest)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the Impact Film program at the San Francisco Green Film Festival. \u003c/p>\n\u003cp>San Francisco Jazz Organization (aka SFJAZZ)\u003cbr>\n$30,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support the SFJAZZ Collective’s commissioning, development, and performance of new original works and touring activities. \u003c/p>\n\u003cp>San Francisco Jewish Film Festival (aka Jewish Film Institute)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support travel, theater rental, and staff costs for the Jewish Film Institute’s 40th San Francisco Jewish Film Festival.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (aka SFMOMA)\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works – Museums\u003cbr>\nTo support a traveling exhibition and catalogue of the work of photographer Dawoud Bey (b. 1953).\u003c/p>\n\u003cp>San Francisco Opera Association\u003cbr>\n$80,000 San Francisco, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support the west coast premiere of The Handmaid’s Tale by composer Poul Ruders and librettist Paul Bentley. \u003c/p>\n\u003cp>San Francisco Symphony (aka SFS)\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support staff salaries and artist fees for an artist-in-residence program. \u003c/p>\n\u003cp>Southern Exposure (aka SoEx)\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support a group exhibition and a series of public programs. \u003c/p>\n\u003cp>Stern Grove Festival Association\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Presenting & Multidisciplinary Works\u003cbr>\nTo support artist fees for the Stern Grove Festival. \u003c/p>\n\u003cp>Theatre of Yugen, Incorporated (aka Theatre of Yugen)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the creation and performance of the Native-Noh Project, a new work exploring the intersection of the Native American and Japanese-American immigrant experiences. \u003c/p>\n\u003cp>Women’s Audio Mission (aka WAM)\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works – Arts Education\u003cbr>\nTo support the expansion of Girls on the Mic, a digital media arts training and mentorship program in the San Francisco Unified School District and Oakland Unified School District. \u003c/p>\n\u003cp>World Arts West\u003cbr>\n$60,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support artistic fees and festival facility/production costs associated with the annual San Francisco Ethnic Dance Festival.\u003c/p>\n\u003cp>Zaccho SF (aka Zaccho Dance Theatre)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the choreographer fees of artists participating in the annual San Francisco Aerial Arts Festival.\u003c/p>\n\u003cp>ZYZZYVA, Inc.\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support the publication and promotion of the journal ZYZZYVA. \u003c/p>\n\u003cp>Opera Cultura\u003cbr>\n$10,000 San Leandro, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support a production of Frida by composer Robert Xavier Rodriguez with book by Hilary Blecher and lyrics and monologue by Migdalia Cruz.\u003c/p>\n\u003cp>Alternative Theater Ensemble (aka AlterTheater Ensemble)\u003cbr>\n$10,000 San Rafael, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the AlterLab new play development and production program. \u003c/p>\n\u003cp>California Film Institute (aka CFI)\u003cbr>\n$20,000 San Rafael, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support community engagement programs associated with the Mill Valley Film Festival.\u003c/p>\n\u003cp>Santa Rosa Symphony Association\u003cbr>\n$15,000 Santa Rosa, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support commissioning and artist fees for a new work by Mexican composer Enrico Chapela Barba premiering at Green Music Center at Sonoma State University.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Headlands Center for the Arts\u003cbr>\n$20,000 Sausalito, CA\u003cbr>\nArt Works – Artist Communities\u003cbr>\nTo support a residency program for emerging and mid-career artists and related public programming.\u003c/p>\n\n","blocks":[],"excerpt":"President Donald Trump has for the past three years in a row proposed eliminating the federal agency.","status":"publish","parent":0,"modified":1705021487,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":80,"wordCount":2427},"headData":{"title":"National Endowment for the Arts Awards $1.7 Million to Bay Area Arts Groups | KQED","description":"President Donald Trump has for the past three years in a row proposed eliminating the federal agency.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13873401/national-endowment-for-the-arts-awards-1-7-million-to-bay-area-arts-groups","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The National Endowment for the Arts (NEA) on Wednesday \u003ca href=\"https://www.arts.gov/news/2020/national-endowment-arts-announces-arts-project-grants-all-50-states-district-columbia-and\">announced\u003c/a> 1,187 grants totaling $27.3 million for arts organizations in every state in the nation, as well as the District of Columbia and Puerto Rico, including $1,730,000 for 72 groups in the nine-county Bay Area. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13873232,arts_13849264,arts_13831888","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The recipients include literary, film, dance, theater, music and visual arts organizations from granite-stepped institutions to tiny enterprises. All of the projects “connect people through shared experiences and artistic expression,” NEA chair Mary Anne Carter said in a statement.\u003c/p>\n\u003cp>New projects supported include San Francisco Museum of Modern Art’s Dawoud Bey photography retrospective; Anne Bluethenthal and Dancers collaboration with Skywatchers ensemble, \u003cem>Life in the Containment Zone\u003c/em>; playwright Ricardo Pérez González’s premiere \u003cem>Don’t Eat the Mangos\u003c/em>; and choreographer Deborah Slater’s \u003cem>inCIVILITY: A Seat at the Table\u003c/em>. \u003c/p>\n\u003cp>Grants in the “Art Works” category range $10,000-$100,000 and recognize projects that celebrate creativity and cultural heritage, while the $10,000 “Challenge America” awards support small and mid-sized organizations serving remote or marginalized populations. \u003c/p>\n\u003cp>President Donald Trump has for the past three years in a row proposed eliminating the NEA and its sister agency the National Endowment for the Humanities entirely. Congress has each time rejected Trump’s proposal, and last year actually boosted the agencies budgets by millions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Creative Capital, the New York grant-making outfit formed 20 years ago in part to counter deep 1990s cuts to the NEA, also on Wednesday announced $100,000 awards for three local artists. \u003c/p>\n\u003cp>Below is a complete list of the local organizations to receive NEA funding this year. \u003c/p>\n\u003cp>Berkeley Repertory Theatre (aka Berkeley Rep)\u003cbr>\n$50,000 Berkeley, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the creation and development of new work in The Ground Floor program.\u003c/p>\n\u003cp>California Shakespeare Theater (aka Cal Shakes)\u003cbr>\n$30,000 Berkeley, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the creation and the world premiere production of a new play by Leila Buck and Evren Odcikin, and related project activities. \u003c/p>\n\u003cp>Central Works\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the development and world premiere production of Tres Hermanas, a new play by Cristina Garcia. \u003c/p>\n\u003cp>Kala Institute\u003cbr>\n$25,000 Berkeley, CA\u003cbr>\nArt Works – Artist\u003cbr>\nCommunities To support residencies for artists working in print and digital media. \u003c/p>\n\u003cp>Small Press Distribution, Inc. (aka SPD)\u003cbr>\n$60,000 Berkeley, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support services to literary small press publishers, including the distribution and marketing of books.\u003c/p>\n\u003cp>Aimusic School\u003cbr>\n$20,000 Cupertino, CA\u003cbr>\nArt Works – Folk & Traditional Arts\u003cbr>\nTo support performances of traditional Chinese music and related educational activities.\u003c/p>\n\u003cp>Healdsburg Jazz Festival, Inc. (aka Healdsburg Jazz)\u003cbr>\n$20,000 Healdsburg, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support Artist and Inspiration: A Woman’s Spirit in Sound performances at the Healdsburg Jazz Festival.\u003c/p>\n\u003cp>API Cultural Center (aka Oakland Asian Cultural Center (OACC))\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support a performing arts program focused on world music and traditional Vietnamese instruments\u003c/p>\n\u003cp>AXIS Dance Company (aka AXIS)\u003cbr>\n$30,000 Oakland, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support a national tour of dance performances and engagement activities.\u003c/p>\n\u003cp>Bay Area Children’s Theatre (aka BACT)\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a Theatre for the Very Young production of Wheels on the Bus. \u003c/p>\n\u003cp>California Humanities\u003cbr>\n$20,000 Oakland, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support a touring program of independent films at community colleges throughout California. \u003c/p>\n\u003cp>Creative Growth, Inc.\u003cbr>\n$55,000 Oakland, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support programming for artists with disabilities. \u003c/p>\n\u003cp>Destiny Arts Center (aka Destiny or Destiny Arts)\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support spoken word and dance programming for youth. \u003c/p>\n\u003cp>Living Jazz\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support a music concert honoring Dr. Martin Luther King, Jr. \u003c/p>\n\u003cp>Omnira Institute\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support the Black-Eyed Pea Festival, a celebration of African-American music and art. \u003c/p>\n\u003cp>Project Bandaloop (aka BANDALOOP)\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the creation of a comprehensive archival plan with an in-house consultant versed in digital archiving.\u003c/p>\n\u003cp>Transit Books\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support the publication and promotion of books of fiction and nonfiction, including work in translation.\u003c/p>\n\u003cp>Djerassi Resident Artists Program\u003cbr>\n$35,000 Redwood City, CA\u003cbr>\nArt Works – Artist Communities\u003cbr>\nTo support artist residencies as part of the Playwright’s Initiative. \u003c/p>\n\u003cp>East Bay Center for the Performing Arts\u003cbr>\n$40,000 Richmond, CA\u003cbr>\nArt Works – Arts Education\u003cbr>\nTo support the Young Artist Diploma Program, a multidisciplinary arts education program for middle and high school students. \u003c/p>\n\u003cp>3rd I South Asian Independent Film (aka 3rd i Films)\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support 3rd i Films’ San Francisco International South Asian Film Festival and associated public programming. \u003c/p>\n\u003cp>Abada-Capoeira San Francisco\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Folk & Traditional Arts\u003cbr>\nTo support a series of educational workshops and a culminating performance. \u003c/p>\n\u003cp>American Conservatory Theatre Foundation (aka American Conservatory Theater)\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a production of Toni Stone by Lydia R. Diamond. \u003c/p>\n\u003cp>Anne Bluethenthal and Dancers (aka ABD Productions)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the presentation of Life in the Containment Zone, directed by choreographer Anne Bluethenthal in collaboration with the ensemble Skywatchers. \u003c/p>\n\u003cp>Art of the Matter Performance Foundation (aka Deborah Slater Dance Theater)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the premiere of inCIVILITY: A Seat at the Table by choreographer Deborah Slater. \u003c/p>\n\u003cp>Asian Pacific Islander Cultural Center (aka APICC)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nChallenge America\u003cbr>\nTo support The United States of Asian America Festival, a multidisciplinary arts festival celebrating Asian and Pacific Islander American culture.\u003c/p>\n\u003cp>Bay Area Video Coalition, Inc. (aka BAVC)\u003cbr>\n$40,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the provision of video and audio preservation services.\u003c/p>\n\u003cp>California Lawyers for the Arts, Inc.\u003cbr>\n$60,000 San Francisco, CA\u003cbr>\nArt Works – Local Arts Agencies\u003cbr>\nTo support a multistate expansion of the Arts in Corrections Initiative. \u003c/p>\n\u003cp>Canyon Cinema Foundation (aka Canyon Cinema)\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support a curatorial fellowship, screening series, and national touring program of experimental film and video works. \u003c/p>\n\u003cp>Center for Asian American Media (aka CAAM)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support CAAMFest, a media arts festival that showcases the work of Asian and Asian-American artists, and related public programming. \u003c/p>\n\u003cp>Center for the Art of Translation\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support the publication and promotion of international literature. \u003c/p>\n\u003cp>Chinese Culture Foundation of San Francisco (aka Chinese Culture Center)\u003cbr>\n$40,000 San Francisco, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support an exhibition exploring issues related to gender equity, civil rights, and inclusion. \u003c/p>\n\u003cp>City and County of San Francisco, California\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works – Local Arts Agencies\u003cbr>\nTo support a series of visual arts exhibitions and related programming commemorating the 50th anniversary of the San Francisco Arts Commission Galleries.\u003c/p>\n\u003cp>CounterPulse\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the Artist Residency and Commissioning (ARC) program, which provides space and support for emerging and mid-career choreographers.\u003c/p>\n\u003cp>Crowded Fire Theater Company (aka Crowded Fire)\u003cbr>\n$10,000\u003cbr>\nSan Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a production of The Displaced by Isaac Gomez. \u003c/p>\n\u003cp>Eyes and Ears Foundation (aka San Francisco International Arts Festival)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Presenting & Multidisciplinary Works\u003cbr>\nTo support artist fees and travel stipends as part of the San Francisco International Arts Festival. \u003c/p>\n\u003cp>Flyaway Productions\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support performances of Meet Us Quickly With Your Mercy by choreographer Jo Kreiter. \u003c/p>\n\u003cp>foolsFURY Theater Company (aka foolsFURY)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the FURY Factory Festival of Ensemble and Devised Theater. \u003c/p>\n\u003cp>Frameline\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the 44th San Francisco International LGBTQ+ Film Festival and Frameline Encore, a free year-round film exhibition program. \u003c/p>\n\u003cp>Golden Thread Productions\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a co-production of At The Periphery by Sedef Ecer, in a new translation by Evren Odcikin. \u003c/p>\n\u003cp>Gray Area Foundation for the Arts, Inc (aka Gray Area)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the Gray Area Festival and associated public programs.\u003c/p>\n\u003cp>Inneract Project, Inc\u003cbr>\n$20,000 SAN FRANCISCO, CA\u003cbr>\nArt Works – Design\u003cbr>\nTo support the Youth Design Academy, a series of programs introducing design concepts to middle and high school students.\u003c/p>\n\u003cp>Jewish Community Center of San Francisco (aka JCCSF)\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Presenting & Multidisciplinary Works\u003cbr>\nTo support arts programming components of the Re-imagine Freedom series. \u003c/p>\n\u003cp>Kronos Performing Arts Association (aka Kronos Quartet)\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support the Kronos Festival. \u003c/p>\n\u003cp>Magic Theatre, Inc.\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the world premiere production of Don’t Eat the Mangos, a new play by Ricardo Pérez González. \u003c/p>\n\u003cp>ODC (aka ODC/Dance)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the creation and presentation of Decameron, Up for Air, a new dance work by ODC/Dance. \u003c/p>\n\u003cp>ODC Theater\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the creation and presentation of dance works as part of the performance series Interventions and Collaborations. \u003c/p>\n\u003cp>Open Architecture Collaborative, Inc.\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works – Design\u003cbr>\nTo support Pathways to Equity Fellowship, a leadership development program for community design practitioners. \u003c/p>\n\u003cp>Opera Parallele\u003cbr>\n$30,000 San Francisco, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support the world premiere of a revised and re-orchestrated production of Harvey Milk by composer Stewart Wallace and librettist Michael Korie.\u003c/p>\n\u003cp>Other Minds\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support the 25th annual Other Minds new music festival.\u003c/p>\n\u003cp>Philharmonia Baroque Orchestra and Chorale\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support performances of Aci, Galatea, e Polifemo by George Frideric Handel, with re-imagined recitatives by composer and sound designer Mark Grey. \u003c/p>\n\u003cp>Root Division\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support the Second Saturday Exhibition Series, a collection of visual arts events and presentations of work by Bay Area artists. \u003c/p>\n\u003cp>San Francisco Cinematheque\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support public engagement activities for Crossroads 2020, a festival dedicated to experimental film, video, and performance-based cinema. \u003c/p>\n\u003cp>San Francisco Film Society (aka SFFILM)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the San Francisco International Film Festival and other curated film series. \u003c/p>\n\u003cp>San Francisco Green Film Festival (aka Green Film Fest)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the Impact Film program at the San Francisco Green Film Festival. \u003c/p>\n\u003cp>San Francisco Jazz Organization (aka SFJAZZ)\u003cbr>\n$30,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support the SFJAZZ Collective’s commissioning, development, and performance of new original works and touring activities. \u003c/p>\n\u003cp>San Francisco Jewish Film Festival (aka Jewish Film Institute)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support travel, theater rental, and staff costs for the Jewish Film Institute’s 40th San Francisco Jewish Film Festival.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (aka SFMOMA)\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works – Museums\u003cbr>\nTo support a traveling exhibition and catalogue of the work of photographer Dawoud Bey (b. 1953).\u003c/p>\n\u003cp>San Francisco Opera Association\u003cbr>\n$80,000 San Francisco, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support the west coast premiere of The Handmaid’s Tale by composer Poul Ruders and librettist Paul Bentley. \u003c/p>\n\u003cp>San Francisco Symphony (aka SFS)\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support staff salaries and artist fees for an artist-in-residence program. \u003c/p>\n\u003cp>Southern Exposure (aka SoEx)\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support a group exhibition and a series of public programs. \u003c/p>\n\u003cp>Stern Grove Festival Association\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Presenting & Multidisciplinary Works\u003cbr>\nTo support artist fees for the Stern Grove Festival. \u003c/p>\n\u003cp>Theatre of Yugen, Incorporated (aka Theatre of Yugen)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the creation and performance of the Native-Noh Project, a new work exploring the intersection of the Native American and Japanese-American immigrant experiences. \u003c/p>\n\u003cp>Women’s Audio Mission (aka WAM)\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works – Arts Education\u003cbr>\nTo support the expansion of Girls on the Mic, a digital media arts training and mentorship program in the San Francisco Unified School District and Oakland Unified School District. \u003c/p>\n\u003cp>World Arts West\u003cbr>\n$60,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support artistic fees and festival facility/production costs associated with the annual San Francisco Ethnic Dance Festival.\u003c/p>\n\u003cp>Zaccho SF (aka Zaccho Dance Theatre)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the choreographer fees of artists participating in the annual San Francisco Aerial Arts Festival.\u003c/p>\n\u003cp>ZYZZYVA, Inc.\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support the publication and promotion of the journal ZYZZYVA. \u003c/p>\n\u003cp>Opera Cultura\u003cbr>\n$10,000 San Leandro, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support a production of Frida by composer Robert Xavier Rodriguez with book by Hilary Blecher and lyrics and monologue by Migdalia Cruz.\u003c/p>\n\u003cp>Alternative Theater Ensemble (aka AlterTheater Ensemble)\u003cbr>\n$10,000 San Rafael, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the AlterLab new play development and production program. \u003c/p>\n\u003cp>California Film Institute (aka CFI)\u003cbr>\n$20,000 San Rafael, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support community engagement programs associated with the Mill Valley Film Festival.\u003c/p>\n\u003cp>Santa Rosa Symphony Association\u003cbr>\n$15,000 Santa Rosa, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support commissioning and artist fees for a new work by Mexican composer Enrico Chapela Barba premiering at Green Music Center at Sonoma State University.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Headlands Center for the Arts\u003cbr>\n$20,000 Sausalito, CA\u003cbr>\nArt Works – Artist Communities\u003cbr>\nTo support a residency program for emerging and mid-career artists and related public programming.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13873401/national-endowment-for-the-arts-awards-1-7-million-to-bay-area-arts-groups","authors":["11091"],"programs":["arts_1272"],"categories":["arts_1","arts_835","arts_967","arts_70"],"tags":["arts_3560","arts_1118","arts_1730","arts_596"],"featImg":"arts_13824382","label":"arts_1272"},"arts_13860900":{"type":"posts","id":"arts_13860900","meta":{"index":"posts_1591205157","site":"arts","id":"13860900","score":null,"sort":[1562690748000]},"guestAuthors":[],"slug":"san-francisco-mime-troupe-celebrates-60-years-with-treasure-island","title":"San Francisco Mime Troupe Celebrates 60 Years with 'Treasure Island'","publishDate":1562690748,"format":"standard","headTitle":"San Francisco Mime Troupe Celebrates 60 Years with ‘Treasure Island’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>To celebrate our holidays, religious or secular, we frequently rely on tradition to guide us. Whether it’s dreidel for Chanukah, dyed eggs (or drag queens) for Easter, or lion dancing for the Lunar New Year, tradition acts as a framework holding a disparate group of people together. And any given holiday might generate different traditions for different systems of belief: Thanksgiving could mean a big family meal, a chance to shop for bargain electronics, a chance to buy nothing, or a chance to reflect on Native American rights.\u003c/p>\n\u003cp>For many Bay Area residents, the Fourth of July means opening day for the San Francisco Mime Troupe’s summer touring season.\u003c/p>\n\u003cp>Belying the fog that will later roll in and obscure the fireworks, the sky is often blue and bright for the Mime Troupe’s opening day. The crowd really begins to trickle in around noon, and by the 2pm showtime, the hillside facing the tennis courts on 18th Street is full of bodies. Young bodies, older bodies, multiracial bodies. Child bodies and dog bodies. Folks circulate through the crowd with petitions, pamphlets, programs. As I always do, I feel as if I know at least a quarter of the attendees—if not as friends, then as reputations. Organizers and educators. Actors and artists. Union members and cooperative workers. A great deal of time at a Mime Troupe show is spent in greeting folks whom I maybe haven’t seen since last year’s show. Frequently there is relief in the greeting—a “you’re-still-here-and-I’m-still-here-therefore-we-are-all-still-here” kind of acknowledgement. It’s all part of the ritual. Tradition.\u003c/p>\n\u003cfigure id=\"attachment_13860907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-800x534.jpg\" alt=\"(L-R) Brian Rivera, Lizzie Calogero, Andre Amarotico, Michael Gene Sullivan, and Keiko Shimosato Carreiro in the San Francisco Mime Troupe's 'Treasure Island.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13860907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Brian Rivera, Lizzie Calogero, Andre Amarotico, Michael Gene Sullivan, and Keiko Shimosato Carreiro in the San Francisco Mime Troupe’s ‘Treasure Island.’ \u003ccite>(Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Mime Troupe has had plenty of time to cultivate its July Fourth tradition, considering that this summer marks their 60th anniversary—some 57 of which have been spent in public parks. In the 70s, when the NEA still funded tours, they criss-crossed the country with their left-wing messaging, garnering a handful of Obies and a Tony along the way. Collectively run since 1970, the Mime Troupe publicly committed themselves to being racially diverse in 1974 and multi-generational in the nineties, long before “\u003ca href=\"https://www.acronymfinder.com/Equality%2C-Diversity-and-Inclusion-(EDI).html\" rel=\"noopener\" target=\"_blank\">EDI\u003c/a>” became a \u003ca href=\"http://lort.org/who-we-are\" rel=\"noopener\" target=\"_blank\">LORT\u003c/a> buzzword, and their current membership actively reflects it.\u003c/p>\n\u003cp>Theirs is a specific kind of success story, one proving that it’s possible to run a company well into the 21st century with collective principles and leftist ideals. A company where people stay for two, three, or 30 years—and each get an equal vote. A company whose commitment to not taking corporate money, and reliance on on-again, off-again NEA funding has kept it in a perpetual state of brokeness for decades. A company whose commitment to touring still takes them to some very unlikely hamlets—Nevada City, Davis, San Jose—despite not having the means to travel the Midwest as in earlier decades. A company whose current audience comes as much for the experience of being their audience as they do for the actual show. Tradition.\u003c/p>\n\u003cfigure id=\"attachment_13860912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-800x584.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre Amarotico is not that kind of mime in San Francisco Mime Troupe’s ‘Treasure Island.’ \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Mime Troupe, who still have to add to their swag the tagline “not that kind of mime,” actually specialize in flamboyant verbosity mixed with music. They frequently take on a single issue and attempt to flesh it out with a mix of slapstick, wonk-splaining, and showtunes. Their flexible, able cast performs multiple roles with quick costume changes and a willing suspension of disbelief on the part of the audience, and for every issue they bring to the forefront, there are a dozen others that feel equally urgent crowding behind the scenes. This inability to respond in the moment to every pressing cause can sometimes make a Mime Troupe show feel behind the times, even when they’re addressing very current concerns. It’s less street theater, and more theater-that-is-performed-on-the-streets, and in this way they are as constricted by their chosen script as any more conventional theater performed indoors might be.\u003c/p>\n\u003cfigure id=\"attachment_13860910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-800x587.jpg\" alt=\"\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Heading to Treasure Island with Keiko Shimsoto Carreiro, Lizzie Calogero, and Brian Rivera. \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s show, \u003cem>Treasure Island,\u003c/em> written and directed by multiple members, is no different in that regard. They take to task San Francisco’s love affair with developers, in this production likened to pirates, complete with “arrrghs,” frilly shirts, callbacks to Robert Louis Stevenson’s high-seas adventure tale, and a great, Carla Pantoja-choreographed sword fight. And although the crowd initially can’t decide if it’s supposed to cheer or boo the first development referenced in the play—high-rise condos at 16th and Valencia (hint, you boo)—they soon come around to the Mime Troupe’s POV, as a whole slew of injustices are revealed in the greater fight for affordable housing, mostly on and off our very own Treasure Island.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s especially interesting about this storyline is that because it’s a messy, complex situation with no real happy ending in sight, the Mime Troupe have to focus instead on a lightweight redemption arc for their sprightly lead character, Jill Hawkins (Lizzie Calogero).\u003c/p>\n\u003cfigure id=\"attachment_13860909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860909\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-800x559.jpg\" alt=\"\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzie Calogero and Michael Gene Sullivan in the San Francisco Mime Troupe’s Treasure Island. \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs are mostly forgettable. Lines are delivered at two volumes, loud and louder. Double-takes are cartoonishly underscored with a slide whistle. At one point two characters bicker over who will deliver the backstory. There’s a lot to deliver.\u003c/p>\n\u003cp>But unlike an evening at the “theater,” the Mime Troupe experience is far more organically interactive. Folks laugh, cheer, and hiss. There’s spontaneous and not-so spontaneous applause throughout. A couple of my companions provide a running commentary of radicalized snark. And at the end, the crowd’s standing ovation feels not so much a celebration of the particular show, but a celebration of the Mime Troupe experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13860908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Standing ovation for the San Francisco Mime Troupe’s Treasure Island. Yes, that is a lot of tie-dye. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often accused of preaching to the choir, the Mime Troupe of today is probably not in the running for any more Tony awards. But no one goes to Midnight Mass or the Sisters of Perpetual Indulgence Easter celebration and accuses them of preaching to the choir—even though that is literally what they are doing. Sometimes the ritual demands that we perform it in the presence of our chosen congregation, one that willingly chooses to participate. Sure, maybe it would be nice to convert a few extra souls along the way. But if you’re going to a Mime Troupe show—just as with the Hunky Jesus competition—you probably already know what you’re going to get. And that’s exactly why you go. Tradition.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The San Francisco Mime Troupe’s ‘Treasure Island’ runs through Sept. 8 at 15 different cities around Northern California. \u003ca href=\"http://www.sfmt.org/schedule/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A tradition 60 years strong, the San Francisco Mime Troupe's Fourth of July show always draws a crowd.","status":"publish","parent":0,"modified":1705022565,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1257},"headData":{"title":"San Francisco Mime Troupe Celebrates 60 Years with 'Treasure Island' | KQED","description":"A tradition 60 years strong, the San Francisco Mime Troupe's Fourth of July show always draws a crowd.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1562223600,"endTime":1568008800,"startTimeString":"July 4–Sept. 8","venueName":"Various Cities in Northern California","eventLink":"http://www.sfmt.org/schedule/","path":"/arts/13860900/san-francisco-mime-troupe-celebrates-60-years-with-treasure-island","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>To celebrate our holidays, religious or secular, we frequently rely on tradition to guide us. Whether it’s dreidel for Chanukah, dyed eggs (or drag queens) for Easter, or lion dancing for the Lunar New Year, tradition acts as a framework holding a disparate group of people together. And any given holiday might generate different traditions for different systems of belief: Thanksgiving could mean a big family meal, a chance to shop for bargain electronics, a chance to buy nothing, or a chance to reflect on Native American rights.\u003c/p>\n\u003cp>For many Bay Area residents, the Fourth of July means opening day for the San Francisco Mime Troupe’s summer touring season.\u003c/p>\n\u003cp>Belying the fog that will later roll in and obscure the fireworks, the sky is often blue and bright for the Mime Troupe’s opening day. The crowd really begins to trickle in around noon, and by the 2pm showtime, the hillside facing the tennis courts on 18th Street is full of bodies. Young bodies, older bodies, multiracial bodies. Child bodies and dog bodies. Folks circulate through the crowd with petitions, pamphlets, programs. As I always do, I feel as if I know at least a quarter of the attendees—if not as friends, then as reputations. Organizers and educators. Actors and artists. Union members and cooperative workers. A great deal of time at a Mime Troupe show is spent in greeting folks whom I maybe haven’t seen since last year’s show. Frequently there is relief in the greeting—a “you’re-still-here-and-I’m-still-here-therefore-we-are-all-still-here” kind of acknowledgement. It’s all part of the ritual. Tradition.\u003c/p>\n\u003cfigure id=\"attachment_13860907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-800x534.jpg\" alt=\"(L-R) Brian Rivera, Lizzie Calogero, Andre Amarotico, Michael Gene Sullivan, and Keiko Shimosato Carreiro in the San Francisco Mime Troupe's 'Treasure Island.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13860907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Brian Rivera, Lizzie Calogero, Andre Amarotico, Michael Gene Sullivan, and Keiko Shimosato Carreiro in the San Francisco Mime Troupe’s ‘Treasure Island.’ \u003ccite>(Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Mime Troupe has had plenty of time to cultivate its July Fourth tradition, considering that this summer marks their 60th anniversary—some 57 of which have been spent in public parks. In the 70s, when the NEA still funded tours, they criss-crossed the country with their left-wing messaging, garnering a handful of Obies and a Tony along the way. Collectively run since 1970, the Mime Troupe publicly committed themselves to being racially diverse in 1974 and multi-generational in the nineties, long before “\u003ca href=\"https://www.acronymfinder.com/Equality%2C-Diversity-and-Inclusion-(EDI).html\" rel=\"noopener\" target=\"_blank\">EDI\u003c/a>” became a \u003ca href=\"http://lort.org/who-we-are\" rel=\"noopener\" target=\"_blank\">LORT\u003c/a> buzzword, and their current membership actively reflects it.\u003c/p>\n\u003cp>Theirs is a specific kind of success story, one proving that it’s possible to run a company well into the 21st century with collective principles and leftist ideals. A company where people stay for two, three, or 30 years—and each get an equal vote. A company whose commitment to not taking corporate money, and reliance on on-again, off-again NEA funding has kept it in a perpetual state of brokeness for decades. A company whose commitment to touring still takes them to some very unlikely hamlets—Nevada City, Davis, San Jose—despite not having the means to travel the Midwest as in earlier decades. A company whose current audience comes as much for the experience of being their audience as they do for the actual show. Tradition.\u003c/p>\n\u003cfigure id=\"attachment_13860912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-800x584.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre Amarotico is not that kind of mime in San Francisco Mime Troupe’s ‘Treasure Island.’ \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Mime Troupe, who still have to add to their swag the tagline “not that kind of mime,” actually specialize in flamboyant verbosity mixed with music. They frequently take on a single issue and attempt to flesh it out with a mix of slapstick, wonk-splaining, and showtunes. Their flexible, able cast performs multiple roles with quick costume changes and a willing suspension of disbelief on the part of the audience, and for every issue they bring to the forefront, there are a dozen others that feel equally urgent crowding behind the scenes. This inability to respond in the moment to every pressing cause can sometimes make a Mime Troupe show feel behind the times, even when they’re addressing very current concerns. It’s less street theater, and more theater-that-is-performed-on-the-streets, and in this way they are as constricted by their chosen script as any more conventional theater performed indoors might be.\u003c/p>\n\u003cfigure id=\"attachment_13860910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-800x587.jpg\" alt=\"\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Heading to Treasure Island with Keiko Shimsoto Carreiro, Lizzie Calogero, and Brian Rivera. \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s show, \u003cem>Treasure Island,\u003c/em> written and directed by multiple members, is no different in that regard. They take to task San Francisco’s love affair with developers, in this production likened to pirates, complete with “arrrghs,” frilly shirts, callbacks to Robert Louis Stevenson’s high-seas adventure tale, and a great, Carla Pantoja-choreographed sword fight. And although the crowd initially can’t decide if it’s supposed to cheer or boo the first development referenced in the play—high-rise condos at 16th and Valencia (hint, you boo)—they soon come around to the Mime Troupe’s POV, as a whole slew of injustices are revealed in the greater fight for affordable housing, mostly on and off our very own Treasure Island.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s especially interesting about this storyline is that because it’s a messy, complex situation with no real happy ending in sight, the Mime Troupe have to focus instead on a lightweight redemption arc for their sprightly lead character, Jill Hawkins (Lizzie Calogero).\u003c/p>\n\u003cfigure id=\"attachment_13860909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860909\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-800x559.jpg\" alt=\"\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzie Calogero and Michael Gene Sullivan in the San Francisco Mime Troupe’s Treasure Island. \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs are mostly forgettable. Lines are delivered at two volumes, loud and louder. Double-takes are cartoonishly underscored with a slide whistle. At one point two characters bicker over who will deliver the backstory. There’s a lot to deliver.\u003c/p>\n\u003cp>But unlike an evening at the “theater,” the Mime Troupe experience is far more organically interactive. Folks laugh, cheer, and hiss. There’s spontaneous and not-so spontaneous applause throughout. A couple of my companions provide a running commentary of radicalized snark. And at the end, the crowd’s standing ovation feels not so much a celebration of the particular show, but a celebration of the Mime Troupe experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13860908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Standing ovation for the San Francisco Mime Troupe’s Treasure Island. Yes, that is a lot of tie-dye. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often accused of preaching to the choir, the Mime Troupe of today is probably not in the running for any more Tony awards. But no one goes to Midnight Mass or the Sisters of Perpetual Indulgence Easter celebration and accuses them of preaching to the choir—even though that is literally what they are doing. Sometimes the ritual demands that we perform it in the presence of our chosen congregation, one that willingly chooses to participate. Sure, maybe it would be nice to convert a few extra souls along the way. But if you’re going to a Mime Troupe show—just as with the Hunky Jesus competition—you probably already know what you’re going to get. And that’s exactly why you go. Tradition.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Mime Troupe’s ‘Treasure Island’ runs through Sept. 8 at 15 different cities around Northern California. \u003ca href=\"http://www.sfmt.org/schedule/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13860900/san-francisco-mime-troupe-celebrates-60-years-with-treasure-island","authors":["11497"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_1730","arts_769"],"featImg":"arts_13860944","label":"arts_140"},"arts_13857895":{"type":"posts","id":"arts_13857895","meta":{"index":"posts_1591205157","site":"arts","id":"13857895","score":null,"sort":[1558469941000]},"guestAuthors":[],"slug":"nea-jazz-masters-announced-tribute-concert-coming-to-san-francisco","title":"NEA Jazz Masters Announced; Tribute Concert Coming to San Francisco","publishDate":1558469941,"format":"standard","headTitle":"NEA Jazz Masters Announced; Tribute Concert Coming to San Francisco | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The National Endowment for the Arts (NEA) on Tuesday announced the honorees of its \u003ca href=\"https://www.arts.gov/news/2019/national-endowment-arts-announces-2020-nea-jazz-masters\" target=\"_blank\" rel=\"noopener\">2020 Jazz Masters Fellowship\u003c/a>, a grant of up to $25,000 reserved for the genre’s boundary-pushers, innovators and advocates. Two of the four selected musicians have deep ties to the Bay Area.\u003c/p>\n\u003cp>Saxophonist Roscoe Mitchell, who was key to the formation of Chicago’s avant-garde jazz scene in the ’60s with the Art Ensemble of Chicago, served as one of Mills College’s most renowned faculty members in Oakland \u003ca href=\"https://www.kqed.org/arts/13845889/roscoe-mitchell-jazz-iconoclast-bids-the-bay-farewell-with-intimate-gigs\" target=\"_blank\" rel=\"noopener\">until his recent retirement\u003c/a>. And Bobby McFerrin, best known for the novelty pop hit “Don’t Worry, Be Happy,” is a 10-time Grammy-winning jazz vocalist who started his career in San Francisco and even once guest-conducted the San Francisco Symphony.\u003c/p>\n\u003cp>The Jazz Masters Fellows are nominated by the public and selected by a panel of industry professionals. Previous recipients have included Ella Fitzgerald, Sonny Rollins and Miles Davis, and the NEA \u003ca href=\"https://www.arts.gov/honors/jazz\" target=\"_blank\" rel=\"noopener\">documents\u003c/a> honorees’ careers online through podcasts, videos and other multimedia. The other 2020 honorees are bassist Reggie Workman, best known for his work with John Coltrane and Thelonious Monk, and Dorthaan Kirk from Newark Public Radio.\u003c/p>\n\u003cp>“The 2020 NEA Jazz Masters have made an incredible impact on jazz, whether it’s through their artistic work to expand the musical boundaries of the genre, their educational contributions, or their efforts to reach new audiences for jazz,” said Acting Chairman of the Arts Endowment Mary Anne Carter in a statement.\u003c/p>\n\u003cp>In addition, the NEA celebrates this year’s honorees with a \u003ca href=\"https://www.sfjazz.org/tickets/events/2020-jazz-masters-tribute-concert/\" target=\"_blank\" rel=\"noopener\">free tribute concert\u003c/a> at SFJAZZ on April 2, 2020—the first time the Jazz Masters Fellowship concert has taken place in the Bay Area since 2005. Tickets will become available in February 2020, and there will also be a live stream of the concert.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Avant-garde saxophonist Roscoe Mitchell and vocalist Bobby McFerrin are among the 2020 recipients. ","status":"publish","parent":0,"modified":1705026174,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":322},"headData":{"title":"NEA Jazz Masters Announced; Tribute Concert Coming to San Francisco | KQED","description":"Avant-garde saxophonist Roscoe Mitchell and vocalist Bobby McFerrin are among the 2020 recipients. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13857895/nea-jazz-masters-announced-tribute-concert-coming-to-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The National Endowment for the Arts (NEA) on Tuesday announced the honorees of its \u003ca href=\"https://www.arts.gov/news/2019/national-endowment-arts-announces-2020-nea-jazz-masters\" target=\"_blank\" rel=\"noopener\">2020 Jazz Masters Fellowship\u003c/a>, a grant of up to $25,000 reserved for the genre’s boundary-pushers, innovators and advocates. Two of the four selected musicians have deep ties to the Bay Area.\u003c/p>\n\u003cp>Saxophonist Roscoe Mitchell, who was key to the formation of Chicago’s avant-garde jazz scene in the ’60s with the Art Ensemble of Chicago, served as one of Mills College’s most renowned faculty members in Oakland \u003ca href=\"https://www.kqed.org/arts/13845889/roscoe-mitchell-jazz-iconoclast-bids-the-bay-farewell-with-intimate-gigs\" target=\"_blank\" rel=\"noopener\">until his recent retirement\u003c/a>. And Bobby McFerrin, best known for the novelty pop hit “Don’t Worry, Be Happy,” is a 10-time Grammy-winning jazz vocalist who started his career in San Francisco and even once guest-conducted the San Francisco Symphony.\u003c/p>\n\u003cp>The Jazz Masters Fellows are nominated by the public and selected by a panel of industry professionals. Previous recipients have included Ella Fitzgerald, Sonny Rollins and Miles Davis, and the NEA \u003ca href=\"https://www.arts.gov/honors/jazz\" target=\"_blank\" rel=\"noopener\">documents\u003c/a> honorees’ careers online through podcasts, videos and other multimedia. The other 2020 honorees are bassist Reggie Workman, best known for his work with John Coltrane and Thelonious Monk, and Dorthaan Kirk from Newark Public Radio.\u003c/p>\n\u003cp>“The 2020 NEA Jazz Masters have made an incredible impact on jazz, whether it’s through their artistic work to expand the musical boundaries of the genre, their educational contributions, or their efforts to reach new audiences for jazz,” said Acting Chairman of the Arts Endowment Mary Anne Carter in a statement.\u003c/p>\n\u003cp>In addition, the NEA celebrates this year’s honorees with a \u003ca href=\"https://www.sfjazz.org/tickets/events/2020-jazz-masters-tribute-concert/\" target=\"_blank\" rel=\"noopener\">free tribute concert\u003c/a> at SFJAZZ on April 2, 2020—the first time the Jazz Masters Fellowship concert has taken place in the Bay Area since 2005. Tickets will become available in February 2020, and there will also be a live stream of the concert.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13857895/nea-jazz-masters-announced-tribute-concert-coming-to-san-francisco","authors":["11387"],"categories":["arts_69","arts_235"],"tags":["arts_1420","arts_1730","arts_2297"],"featImg":"arts_13389912","label":"arts"},"arts_13849264":{"type":"posts","id":"arts_13849264","meta":{"index":"posts_1591205157","site":"arts","id":"13849264","score":null,"sort":[1548280057000]},"guestAuthors":[],"slug":"due-to-government-shutdown-california-humanities-suspends-all-arts-grants","title":"Due to Government Shutdown, California Humanities Suspends All Arts Grants","publishDate":1548280057,"format":"standard","headTitle":"Due to Government Shutdown, California Humanities Suspends All Arts Grants | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Last year, California Humanities issued more than $1 million in grants to artists and cultural organizations.\u003c/p>\n\u003cp>But now, the National Endowment for the Humanities’ state partner has suspended grant-making indefinitely as the historic federal government shutdown nears its sixth week. \u003c/p>\n\u003cp>The independent nonprofit, which has offices in Oakland and Los Angeles, is operating on an “austerity basis,” CEO Julie Fry told KQED, unable to release even already awarded grants. \u003c/p>\n\u003cp>In the final two months of 2018, \u003ca href=\"https://calhum.org/\">California Humanities\u003c/a> awarded more than 30 grants totaling approximately $350,000. But the release of the funds, in some cases expected to occur this month, is now delayed. Likewise, interim and final payments of earlier grants are on pause until further notice.\u003c/p>\n\u003cfigure id=\"attachment_13824382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg\" alt=\"Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13824382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida. \u003ccite>(Joe Raedle/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We will resume payments as soon as the government reopens, the federal budget is approved, and the NEH recommences payments to the state humanities councils,” Fry told grant recipients and hopefuls in an email sent on Friday. “At this point, we are unsure how long this process will take.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fry said the National Endowment for the Humanities (NEH) contributes a “significant portion” of California Humanities’ grant-making budget. Last year California Humanities awarded just over $1,030,000 to 98 projects statewide in categories such as documentary filmmaking and library innovation. Now, though, the organization is pausing even travel and office expenses. \u003c/p>\n\u003cp>“We’re making do with what paper towels we already have,” Fry said. \u003c/p>\n\u003cfigure id=\"attachment_13849282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg\" alt=\"Museum of the African Diaspora\" width=\"800\" height=\"558\" class=\"size-medium wp-image-13849282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1200x836.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1920x1338.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Museum of the African Diaspora. \u003ccite>(Courtesy of the Museum of the African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the country, the National Gallery of Art as well as 19 Smithsonian museums are closed due to the shutdown. Their employees are among an estimated 800,000 federal workers furloughed or otherwise deprived of at least one paycheck during the holiday season. \u003c/p>\n\u003cp>The government shutdown, now the longest in history as President Donald Trump demands billions for a southern border wall that he’d promised Mexico would pay for, has also shuttered both the national endowments for the arts and humanities, which together disburse nearly $300 million nationwide each year. \u003c/p>\n\u003cp>For Bay Area artists and cultural nonprofits reliant on the national endowments, either directly or through state-level groups such as the California Arts Council and California Humanities, the shutdown has destabilized an already precarious ecosystem. (A spokesperson for the California Arts Council said the shutdown has yet to impact its grant-making, noting that the agency plans to issue 2019 awards at the end of June.) Yet even if the government reboots tomorrow, arts figures tell KQED, the consequences will be felt for the rest of the year.\u003c/p>\n\u003cp>The shutdown is also a reminder of Trump’s threats to \u003ca href=\"https://www.kqed.org/arts/12649417/report-trump-administration-plans-to-privatize-cpb-cut-nea\" rel=\"noopener\" target=\"_blank\">cut the national endowments altogether\u003c/a>. Last year, the NEA issued \u003ca href=\"https://www.kqed.org/arts/13831888/nea-awards-1-7-million-in-grants-to-bay-area-organizations\" rel=\"noopener\" target=\"_blank\">$1.7 million to Bay Area arts groups\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13848854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg\" alt=\"Kronos Quartet.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13848854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Wojciech Wandzel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For small to medium-size arts organizations such as the Kronos Quartet’s Kronos Performing Arts Association, the NEA shutdown is a major source of anxiety. Kronos development manager Mason Dille said he doesn’t know when to expect reimbursement for NEA-supported projects, and his agency contacts simply aren’t at work to field questions. “Any delay in the application process now might impact the work we are able to do far into the 2019-20 season,” he said. \u003c/p>\n\u003cp>NEA workers aren’t just funders—they’re researchers and advocates with a nationwide mandate, often providing resources to remote or disinvested areas. Dille pointed out that agency staff couldn’t participate in several major annual arts conferences this month, calling it a “missed opportunity that will resonate across the country for the entire year.” \u003c/p>\n\u003cp>James Leventhal, interim director and chief development officer at Smithsonian affiliate Museum of the African Diaspora, said he hasn’t heard from his furloughed national colleagues for the past three weeks. As a Smithsonian affiliate, MoAD is one of some 200 resource-sharing museums. So the lack of communication could jeopardize events such as a mid-February concert for local middle-school students featuring the Smithsonian Museum Jazz Masterworks Orchestra.\u003c/p>\n\u003cp>Leventhal also stressed the geographic scope of the national endowments. “When you hear about the real work of the NEA, that real work is about making sure culture is reaching every single corner of this nation,” he said, likening the agencies’ shutdown to a “moratorium on culture.” \u003c/p>\n\u003cfigure id=\"attachment_13849287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg\" alt=\"The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13849287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area. \u003ccite>(Museums of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the national endowments are still accepting grant applications, organization leaders can’t communicate with the agencies as deadlines near, and the ultimate effect on processing time is unclear. “I’m working on a NEA grant and we’re concerned that the Feb. 5 deadline for filing is quickly approaching,” said Jeff Nathanson, executive director of Museums of Sonoma County.\u003c/p>\n\u003cp>And Eric Stanley, Museums of Sonoma County’s associate director and curator of history, said preparation for an upcoming “Pacific World”-themed exhibition has nearly ground to a halt. “Two of the main archives I had been talking to about lending objects and collaborating on the exhibition were SF Maritime Museum and Point Reyes, both national parks,” he said. “Unfortunately it looks like the shutdown will completely prevent me from working with either.” \u003c/p>\n\u003cp>At the bottom line, the national endowment shutdown is interrupting cash flow, especially for nonprofits with little reserves. Roberto Bedoya, Oakland’s cultural affairs manager, said last year the NEA supported his department’s development of the city’s Cultural Plan, sending a check within a month of receiving his invoice. \u003c/p>\n\u003cp>“Now that’s not happening,” Bedoya said, adding that some nonprofits in the Bay Area, with its astronomical overhead, are a grant or two away from folding. \u003c/p>\n\u003cp>“Especially for marginalized communities, rural communities—the shutdown is part of this administration’s larger disinvestment in the public good,” Bedoya said. “As we knew, arts and culture aren’t their priority.” \u003c/p>\n\u003cfigure id=\"attachment_13849285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg\" alt=\""The shutdown is part of this administration’s larger disinvestment in the public good," says Roberto Bedoya, Oakland's cultural affairs manager.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The shutdown is part of this administration’s larger disinvestment in the public good,” says Roberto Bedoya, Oakland’s cultural affairs manager. \u003ccite>(Karen Boyd/City of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The national endowments, like the southern border wall, have themselves been points of federal budgeting contention for Trump. In both 2017 and 2018, Trump \u003ca href=\"https://www.kqed.org/arts/13824378/trump-again-seeks-to-eliminate-neh-and-nea-arts-funding\" rel=\"noopener\" target=\"_blank\">proposed eliminating the agencies entirely\u003c/a> before Congress intervened. The NEA and NEH are a minuscule fraction of the budget, and governments of most developed countries vastly outspend the United States on arts and culture.\u003c/p>\n\u003cp>At this point, Fry said, the subject of elimination feels unsurprising. “It comes up on a cyclical basis—cultural agencies are on the table,” she said. On the other hand, Congress recently proposed raising the allocation to the National Endowment for the Humanities, subject to Trump’s signature. \u003c/p>\n\u003cp>“We’ll have to wait for the president’s approval of that when the government reopens,” Fry said. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>KQED’s Sarah Hotchkiss, Gabe Meline, Nastia Voynovskaya and Chloe Veltman contributed to this report.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"For dozens of other arts nonprofits, the shutdown has destabilized an already precarious ecosystem. ","status":"publish","parent":0,"modified":1705026710,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1253},"headData":{"title":"Due to Government Shutdown, California Humanities Suspends All Arts Grants | KQED","description":"For dozens of other arts nonprofits, the shutdown has destabilized an already precarious ecosystem. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13849264/due-to-government-shutdown-california-humanities-suspends-all-arts-grants","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, California Humanities issued more than $1 million in grants to artists and cultural organizations.\u003c/p>\n\u003cp>But now, the National Endowment for the Humanities’ state partner has suspended grant-making indefinitely as the historic federal government shutdown nears its sixth week. \u003c/p>\n\u003cp>The independent nonprofit, which has offices in Oakland and Los Angeles, is operating on an “austerity basis,” CEO Julie Fry told KQED, unable to release even already awarded grants. \u003c/p>\n\u003cp>In the final two months of 2018, \u003ca href=\"https://calhum.org/\">California Humanities\u003c/a> awarded more than 30 grants totaling approximately $350,000. But the release of the funds, in some cases expected to occur this month, is now delayed. Likewise, interim and final payments of earlier grants are on pause until further notice.\u003c/p>\n\u003cfigure id=\"attachment_13824382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg\" alt=\"Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13824382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida. \u003ccite>(Joe Raedle/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We will resume payments as soon as the government reopens, the federal budget is approved, and the NEH recommences payments to the state humanities councils,” Fry told grant recipients and hopefuls in an email sent on Friday. “At this point, we are unsure how long this process will take.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fry said the National Endowment for the Humanities (NEH) contributes a “significant portion” of California Humanities’ grant-making budget. Last year California Humanities awarded just over $1,030,000 to 98 projects statewide in categories such as documentary filmmaking and library innovation. Now, though, the organization is pausing even travel and office expenses. \u003c/p>\n\u003cp>“We’re making do with what paper towels we already have,” Fry said. \u003c/p>\n\u003cfigure id=\"attachment_13849282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg\" alt=\"Museum of the African Diaspora\" width=\"800\" height=\"558\" class=\"size-medium wp-image-13849282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1200x836.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1920x1338.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Museum of the African Diaspora. \u003ccite>(Courtesy of the Museum of the African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the country, the National Gallery of Art as well as 19 Smithsonian museums are closed due to the shutdown. Their employees are among an estimated 800,000 federal workers furloughed or otherwise deprived of at least one paycheck during the holiday season. \u003c/p>\n\u003cp>The government shutdown, now the longest in history as President Donald Trump demands billions for a southern border wall that he’d promised Mexico would pay for, has also shuttered both the national endowments for the arts and humanities, which together disburse nearly $300 million nationwide each year. \u003c/p>\n\u003cp>For Bay Area artists and cultural nonprofits reliant on the national endowments, either directly or through state-level groups such as the California Arts Council and California Humanities, the shutdown has destabilized an already precarious ecosystem. (A spokesperson for the California Arts Council said the shutdown has yet to impact its grant-making, noting that the agency plans to issue 2019 awards at the end of June.) Yet even if the government reboots tomorrow, arts figures tell KQED, the consequences will be felt for the rest of the year.\u003c/p>\n\u003cp>The shutdown is also a reminder of Trump’s threats to \u003ca href=\"https://www.kqed.org/arts/12649417/report-trump-administration-plans-to-privatize-cpb-cut-nea\" rel=\"noopener\" target=\"_blank\">cut the national endowments altogether\u003c/a>. Last year, the NEA issued \u003ca href=\"https://www.kqed.org/arts/13831888/nea-awards-1-7-million-in-grants-to-bay-area-organizations\" rel=\"noopener\" target=\"_blank\">$1.7 million to Bay Area arts groups\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13848854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg\" alt=\"Kronos Quartet.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13848854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Wojciech Wandzel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For small to medium-size arts organizations such as the Kronos Quartet’s Kronos Performing Arts Association, the NEA shutdown is a major source of anxiety. Kronos development manager Mason Dille said he doesn’t know when to expect reimbursement for NEA-supported projects, and his agency contacts simply aren’t at work to field questions. “Any delay in the application process now might impact the work we are able to do far into the 2019-20 season,” he said. \u003c/p>\n\u003cp>NEA workers aren’t just funders—they’re researchers and advocates with a nationwide mandate, often providing resources to remote or disinvested areas. Dille pointed out that agency staff couldn’t participate in several major annual arts conferences this month, calling it a “missed opportunity that will resonate across the country for the entire year.” \u003c/p>\n\u003cp>James Leventhal, interim director and chief development officer at Smithsonian affiliate Museum of the African Diaspora, said he hasn’t heard from his furloughed national colleagues for the past three weeks. As a Smithsonian affiliate, MoAD is one of some 200 resource-sharing museums. So the lack of communication could jeopardize events such as a mid-February concert for local middle-school students featuring the Smithsonian Museum Jazz Masterworks Orchestra.\u003c/p>\n\u003cp>Leventhal also stressed the geographic scope of the national endowments. “When you hear about the real work of the NEA, that real work is about making sure culture is reaching every single corner of this nation,” he said, likening the agencies’ shutdown to a “moratorium on culture.” \u003c/p>\n\u003cfigure id=\"attachment_13849287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg\" alt=\"The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13849287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area. \u003ccite>(Museums of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the national endowments are still accepting grant applications, organization leaders can’t communicate with the agencies as deadlines near, and the ultimate effect on processing time is unclear. “I’m working on a NEA grant and we’re concerned that the Feb. 5 deadline for filing is quickly approaching,” said Jeff Nathanson, executive director of Museums of Sonoma County.\u003c/p>\n\u003cp>And Eric Stanley, Museums of Sonoma County’s associate director and curator of history, said preparation for an upcoming “Pacific World”-themed exhibition has nearly ground to a halt. “Two of the main archives I had been talking to about lending objects and collaborating on the exhibition were SF Maritime Museum and Point Reyes, both national parks,” he said. “Unfortunately it looks like the shutdown will completely prevent me from working with either.” \u003c/p>\n\u003cp>At the bottom line, the national endowment shutdown is interrupting cash flow, especially for nonprofits with little reserves. Roberto Bedoya, Oakland’s cultural affairs manager, said last year the NEA supported his department’s development of the city’s Cultural Plan, sending a check within a month of receiving his invoice. \u003c/p>\n\u003cp>“Now that’s not happening,” Bedoya said, adding that some nonprofits in the Bay Area, with its astronomical overhead, are a grant or two away from folding. \u003c/p>\n\u003cp>“Especially for marginalized communities, rural communities—the shutdown is part of this administration’s larger disinvestment in the public good,” Bedoya said. “As we knew, arts and culture aren’t their priority.” \u003c/p>\n\u003cfigure id=\"attachment_13849285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg\" alt=\""The shutdown is part of this administration’s larger disinvestment in the public good," says Roberto Bedoya, Oakland's cultural affairs manager.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The shutdown is part of this administration’s larger disinvestment in the public good,” says Roberto Bedoya, Oakland’s cultural affairs manager. \u003ccite>(Karen Boyd/City of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The national endowments, like the southern border wall, have themselves been points of federal budgeting contention for Trump. In both 2017 and 2018, Trump \u003ca href=\"https://www.kqed.org/arts/13824378/trump-again-seeks-to-eliminate-neh-and-nea-arts-funding\" rel=\"noopener\" target=\"_blank\">proposed eliminating the agencies entirely\u003c/a> before Congress intervened. The NEA and NEH are a minuscule fraction of the budget, and governments of most developed countries vastly outspend the United States on arts and culture.\u003c/p>\n\u003cp>At this point, Fry said, the subject of elimination feels unsurprising. “It comes up on a cyclical basis—cultural agencies are on the table,” she said. On the other hand, Congress recently proposed raising the allocation to the National Endowment for the Humanities, subject to Trump’s signature. \u003c/p>\n\u003cp>“We’ll have to wait for the president’s approval of that when the government reopens,” Fry said. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Sarah Hotchkiss, Gabe Meline, Nastia Voynovskaya and Chloe Veltman contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13849264/due-to-government-shutdown-california-humanities-suspends-all-arts-grants","authors":["11091"],"categories":["arts_1","arts_235"],"tags":["arts_3560","arts_4837","arts_1753","arts_1118","arts_2244","arts_1987","arts_1730","arts_746","arts_596"],"featImg":"arts_13849293","label":"arts"},"arts_13831888":{"type":"posts","id":"arts_13831888","meta":{"index":"posts_1591205157","site":"arts","id":"13831888","score":null,"sort":[1525993623000]},"guestAuthors":[],"slug":"nea-awards-1-7-million-in-grants-to-bay-area-organizations","title":"NEA Awards $1.7 Million in Grants to Bay Area Organizations","publishDate":1525993623,"format":"standard","headTitle":"NEA Awards $1.7 Million in Grants to Bay Area Organizations | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>The National Endowment for the Arts (NEA) announced Wednesday the awarding of \u003ca href=\"http://arts.ca.gov/news/prdetail.php?id=262\" rel=\"noopener\" target=\"_blank\">$5.2 million in grants\u003c/a> to arts organizations in California, with $1,668,500 of that funding specifically earmarked for Bay Area groups.\u003c/p>\n\u003cp>Less than two months after Congress passed a $1.3 trillion spending bill that — in defiance of the \u003ca href=\"https://www.kqed.org/arts/13824378/trump-again-seeks-to-eliminate-neh-and-nea-arts-funding\" rel=\"noopener\" target=\"_blank\">Trump administration’s wishes\u003c/a> — increased the NEA’s budget to $153 million, the organization publicized its \u003ca href=\"https://www.arts.gov/news/2018/national-endowment-arts-announces-grants-support-arts-and-innovation-across-country\" rel=\"noopener\" target=\"_blank\">grant recipients for fiscal year 2018\u003c/a>.\u003c/p>\n\u003cp>In total, the NEA is awarding $81.76 million in grants to 1,071 recipients across the nation. This year, 144 of those winners are in California, and about 60 are in the Bay Area. Among the notable local awardees are the Filipino-American Development Foundation (FADF), which will receive $100,000 for developing a Pilipinas Cultural District in San Francisco’s SOMA neighborhood; and Youth Speaks, Inc., which will receive $100,000 for a spoken-word performance called \u003cem>The Bigger Picture\u003c/em>.\u003c/p>\n\u003cp>Noticeably absent from the list of recipients is the \u003ca href=\"http://www.sfmt.org/donate/appeal.php\" rel=\"noopener\" target=\"_blank\">SF Mime Troupe\u003c/a>. The Tony Award-winning political theater group learned in November of last year that it lost its federal funding following negative coverage from the Alt-Right news site, \u003ca href=\"https://www.kqed.org/arts/13595888/breitbart-mime-troupe-freakout-tests-nea-funding-assumptions\" rel=\"noopener\" target=\"_blank\">Breitbart\u003c/a>. Before then, the troupe had received NEA grants ranging from $15,000-$50,000 almost every year since 1998, which it used for its summer programs. \u003c/p>\n\u003cp>The California Arts Council, the state agency supporting the arts, will receive $1,155,300 for its work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since Congress established the independent federal agency in 1965, the NEA has awarded more than $5 billion in grants for various arts-related projects. \u003c/p>\n\u003cp>Below is a list of this year’s grant recipients in the Bay Area. It should be noted that some of these grant amounts could change.\u003c/p>\n\u003cp>\u003cstrong>826 National\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support 826 Digital, an online platform for educators.\u003c/p>\n\u003cp>\u003cstrong>Abada-Capoeira San Francisco\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support a capoeira residency and performance program for students in San Francisco-area schools.\u003c/p>\n\u003cp>\u003cstrong>Alonzo King LINES Ballet\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and world premiere of a ballet by Alonzo King, in collaboration with the Kronos Quartet.\u003c/p>\n\u003cp>\u003cstrong>Asian American Women Artists Association (aka AAWAA)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Visual Arts\u003cbr>\nTo support the Asian American Women Arts Resource Initiative.\u003c/p>\n\u003cp>\u003cstrong>Bay Area Video Coalition, Inc. (aka BAVC)\u003c/strong>\u003cbr>\n$90,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the program staff, travel, lodging and honoraria expenses associated with the National MediaMaker Fellows Program, dedicated to fostering the careers of nonfiction media artists.\u003c/p>\n\u003cp>\u003cstrong>Center for Asian American Media (aka CAAM)\u003c/strong>\u003cbr>\n$26,500 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the strengthening and development of a peer network and strategic infrastructure for Asian American documentary filmmakers working in the American South.\u003c/p>\n\u003cp>\u003cstrong>City and County of San Francisco, California (on behalf of WritersCorps)\u003c/strong>\u003cbr>\n$30,000 San Francisco, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support San Francisco WritersCorps, a creative writing program focused on youth from underserved communities.\u003c/p>\n\u003cp>\u003cstrong>Crowded Fire Theater Company (aka Crowded Fire)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support a collaboration with the hip-hop orchestra Ensemble Mik NaWooj (EMN), to create a cross- disciplinary, participatory workshop performance.\u003c/p>\n\u003cp>\u003cstrong>Dancers’ Group\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support \u003cem>In Dance\u003c/em>, a free print and online monthly publication that promotes dance artists and activities in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Epiphany Productions Sonic Dance Theater (aka Epiphany Dance Theater)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support San Francisco Trolley Dances in its 15th anniversary year.\u003c/p>\n\u003cp>\u003cstrong>Filipino-American Development Foundation\u003c/strong>\u003cbr>\n$100,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support public art planning and initial project development for the SOMA Pilipinas Cultural District.\u003c/p>\n\u003cp>\u003cstrong>Fresh Meat Productions\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support engagement activities during a national tour of “Boys in Trouble,” by choreographer Sean Dorsey.\u003c/p>\n\u003cp>\u003cstrong>Global Fund For Women Inc.\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support production, post-production, and outreach for a short documentary film series directed by Sharmeen Obaid-Chinoy.\u003c/p>\n\u003cp>\u003cstrong>Independent Television Service, Inc. (aka ITVS)\u003c/strong>\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the selection, acquisition, packaging, and promotion of films for the public television series “Independent Lens.”\u003c/p>\n\u003cp>\u003cstrong>Jess Curtis/Gravity, Inc.\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support artist fees for the creation and presentation of a new dance work by choreographer Jess Curtis about sight and perception.\u003c/p>\n\u003cp>\u003cstrong>Joe Goode Performance Group\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and presentation of a new dance work about safe havens, by choreographer Joe Goode.\u003c/p>\n\u003cp>\u003cstrong>Kitchen Sisters Productions (aka The Kitchen Sisters)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the production of “The Keepers,” a podcast and multimedia series.\u003c/p>\n\u003cp>\u003cstrong>Kronos Performing Arts Association (aka Kronos Quartet)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support Kronos Quartet’s development and implementation of free online resources for music education.\u003c/p>\n\u003cp>\u003cstrong>Kronos Performing Arts Association (aka Kronos Quartet)\u003c/strong>\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Fifty for the Future, a commissioning and education project by Kronos Quartet.\u003c/p>\n\u003cp>\u003cstrong>Margaret Jenkins Dance Studio, Inc. (aka Margaret Jenkins Dance Company)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation of Forty-Five Years, a new work by Margaret Jenkins.\u003c/p>\n\u003cp>\u003cstrong>MEDIATE Art Group (aka Soundwave)\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works To support the Soundwave Biennial.\u003c/p>\n\u003cp>\u003cstrong>Merola Opera Program\u003c/strong>\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works — Opera\u003cbr>\nTo support a professional training program for singers, apprentice coaches, and an apprentice stage director.\u003c/p>\n\u003cp>\u003cstrong>Museum of Performance & Design (aka Museum of Performance + Design)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the digitization of videotapes of live theater performances documenting theater in the San Francisco Bay Area from 1976 to 2001.\u003c/p>\n\u003cp>\u003cstrong>Queer Women of Color Media Arts Project (aka QWOCMAP)\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the workshop instruction, travel costs and workshop expenses associated to the Filmmaker Training Program.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Arts Education Project (aka SFArtsED)\u003c/strong>\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works — Visual Arts\u003cbr>\nTo support an exhibition “The Living Legacy of Ruth Asawa (1926-2013): Artist, Educator, Activist.”\u003c/p>\n\u003cp>\u003cstrong>San Francisco Ballet Association (aka San Francisco Ballet)\u003c/strong>\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and presentation of new ballets and a company premiere.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Chanticleer, Inc. (aka Chanticleer)\u003c/strong>\u003cbr>\n$55,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Chanticleer’s national concert tour and residency program.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Contemporary Music Players (aka SFCMP)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support “Stranger in a Strange Land,” a weekend of music events showcasing the performance of a new work by composer Michael Gordon inspired by Angel Island in the San Francisco Bay.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Dance Film Festival Inc (aka SFDFF)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the San Francisco Dance Film Festival.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Friends of Chamber Music\u003c/strong>\u003cbr>\n$12,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support the annual SFMusic Day of chamber music performances.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Performances, Inc.\u003c/strong>\u003cbr>\n$21,500 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support a music performance presenting project.\u003c/p>\n\u003cp>\u003cstrong>San Francisco State University (aka SFSU)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support The Poetry Center’s reading series.\u003c/p>\n\u003cp>\u003cstrong>SEW Productions, Inc. (aka Lorraine Hansberry Theatre)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the Lorraine Hansberry Theatre’s production of “Unintended Consequences: The Final Days of Negro- Ville,” by Keith Josef Adkins.\u003c/p>\n\u003cp>\u003cstrong>Shakespeare – San Francisco (aka San Francisco Shakespeare Festival)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the San Francisco Shakespeare Festival’s Free Shakespeare in the Park production of “As You Like It.”\u003c/p>\n\u003cp>\u003cstrong>Smuin Ballets-SF (aka Smuin Ballet)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the presentation of dance works as part of the company’s 25th anniversary season.\u003c/p>\n\u003cp>\u003cstrong>Theatre Bay Area (aka TBA)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support a new Equity, Diversity, and Inclusion (EDI) training program for a cohort of Bay Area theaters.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nResearch: Art Works — Research\u003cbr>\nTo support a national study that examines how parks are integrating the arts as strategies to strengthen communities.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support the development of a creative placemaking toolkit for city and county health agencies, a Knowledge Building project.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support performing arts workshops and a community design process for improving parks and open spaces in Camden, New Jersey.\u003c/p>\n\u003cp>\u003cstrong>Yerba Buena Center for the Arts (aka YBCA)\u003c/strong>\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of exhibitions, performances, and films.\u003c/p>\n\u003cp>\u003cstrong>Youth Speaks, Inc.\u003c/strong>\u003cbr>\n$100,000 San Francisco, CA\u003cbr>\nCreativity Connects — Creativity Connects\u003cbr>\nTo support \u003cem>The Bigger Picture\u003c/em>, a spoken word performance program presented in partnership with the University of California San Francisco Center for Vulnerable Populations.\u003c/p>\n\u003cp>\u003cstrong>Youth Speaks, Inc.\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support the Brave New Voices Festival.\u003c/p>\n\u003cp>\u003cstrong>Berkeley Society for the Preservation of Traditional Music, Inc. (aka Freight & Salvage)\u003c/strong>\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support The Freight & Salvage: Playing with Tradition music festival.\u003c/p>\n\u003cp>\u003cstrong>Berkeley Symphony Orchestra (aka Berkeley Symphony)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support the Music in the Schools initiative.\u003c/p>\n\u003cp>\u003cstrong>California Shakespeare Theater (aka Cal Shakes)\u003c/strong>\u003cbr>\n$30,000 Berkeley, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the regional premiere of “Everybody,” written by Branden Jacobs-Jenkins.\u003c/p>\n\u003cp>\u003cstrong>David Brower Center\u003c/strong>\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support an arts education program connecting high school students with Bay Area artists.\u003c/p>\n\u003cp>\u003cstrong>Gamelan Sekar Jaya\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Folk & Traditional Arts\u003cbr>\nTo support artist residencies with master artists from Bali, Indonesia.\u003c/p>\n\u003cp>\u003cstrong>Kala Institute\u003c/strong>\u003cbr>\n$22,500 Berkeley, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support an artist-in-residence program for media artists.\u003c/p>\n\u003cp>\u003cstrong>La Pena Cultural Center, Inc.\u003c/strong>\u003cbr>\n$25,000 Berkeley, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support a multidisciplinary performing arts series.\u003c/p>\n\u003cp>\u003cstrong>Luna Kids Dance (aka Luna Dance Institute)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA Art Works — Arts Education\u003cbr>\nTo support professional development activities.\u003c/p>\n\u003cp>\u003cstrong>National Novel Writing Month (aka NaNoWriMo)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support a redesign of the National Novel Writing Month website.\u003c/p>\n\u003cp>\u003cstrong>Regents of the University of California at Berkeley (on behalf of Cal Performances)\u003c/strong>\u003cbr>\n$35,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support an artist-in-residence project by the London-based Philharmonia Orchestra at Cal Performances.\u003c/p>\n\u003cp>\u003cstrong>West Edge Opera\u003c/strong>\u003cbr>\n$10,000 Berkeley, CA\u003cbr>\nArt Works — Opera\u003cbr>\nTo support performances of “Mata Hari” by composer Matt Marks and librettist Paul Peers.\u003c/p>\n\u003cp>\u003cstrong>Cantare Con Vivo\u003c/strong>\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support the Children’s Choirs of Oakland program.\u003c/p>\n\u003cp>\u003cstrong>Crosspulse\u003c/strong>\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the development, creation, and production of a multigenerational, collaborative Body Music performance and interactive production, PASS IT DOWN.\u003c/p>\n\u003cp>\u003cstrong>Dimensions Dance Theater, Inc.\u003c/strong>\u003cbr>\n$25,000 Oakland, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the Rites of Passage dance education program for youth.\u003c/p>\n\u003cp>\u003cstrong>Friends of Peralta Hacienda Historical Park (aka Peralta Hacienda)\u003c/strong>\u003cbr>\n$56,000 Oakland, CA\u003cbr>\nCreativity Connects — Creativity Connects\u003cbr>\nTo support the design, creation, and dissemination of art works that will reflect the stories of day laborers, a partnership with Street Level Health Project.\u003c/p>\n\u003cp>\u003cstrong>International Society for the Arts, Sciences and Technology (aka Leonardo/ISAST)\u003c/strong>\u003cbr>\n$20,000 Oakland, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support residencies for artists and scientists.\u003c/p>\n\u003cp>\u003cstrong>Kitka, Inc. (aka Kitka Women’s Vocal Ensemble)\u003c/strong>\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Evening Star, a project based on Eastern European folk and spiritual traditions.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Purple Silk Music Education Foundation, Inc. (aka Purple Silk Music Education Foundation)\u003c/strong>\u003cbr>\n$20,000 Oakland, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support a year-long intensive music instruction program for youth.\u003c/p>\n\n","blocks":[],"excerpt":"Among the recipients are Youth Speaks and Filipino-American Development Foundation. Not on the list? The SF Mime Troupe.","status":"publish","parent":0,"modified":1705027889,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":69,"wordCount":2139},"headData":{"title":"NEA Awards $1.7 Million in Grants to Bay Area Organizations | KQED","description":"Among the recipients are Youth Speaks and Filipino-American Development Foundation. Not on the list? The SF Mime Troupe.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13831888/nea-awards-1-7-million-in-grants-to-bay-area-organizations","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The National Endowment for the Arts (NEA) announced Wednesday the awarding of \u003ca href=\"http://arts.ca.gov/news/prdetail.php?id=262\" rel=\"noopener\" target=\"_blank\">$5.2 million in grants\u003c/a> to arts organizations in California, with $1,668,500 of that funding specifically earmarked for Bay Area groups.\u003c/p>\n\u003cp>Less than two months after Congress passed a $1.3 trillion spending bill that — in defiance of the \u003ca href=\"https://www.kqed.org/arts/13824378/trump-again-seeks-to-eliminate-neh-and-nea-arts-funding\" rel=\"noopener\" target=\"_blank\">Trump administration’s wishes\u003c/a> — increased the NEA’s budget to $153 million, the organization publicized its \u003ca href=\"https://www.arts.gov/news/2018/national-endowment-arts-announces-grants-support-arts-and-innovation-across-country\" rel=\"noopener\" target=\"_blank\">grant recipients for fiscal year 2018\u003c/a>.\u003c/p>\n\u003cp>In total, the NEA is awarding $81.76 million in grants to 1,071 recipients across the nation. This year, 144 of those winners are in California, and about 60 are in the Bay Area. Among the notable local awardees are the Filipino-American Development Foundation (FADF), which will receive $100,000 for developing a Pilipinas Cultural District in San Francisco’s SOMA neighborhood; and Youth Speaks, Inc., which will receive $100,000 for a spoken-word performance called \u003cem>The Bigger Picture\u003c/em>.\u003c/p>\n\u003cp>Noticeably absent from the list of recipients is the \u003ca href=\"http://www.sfmt.org/donate/appeal.php\" rel=\"noopener\" target=\"_blank\">SF Mime Troupe\u003c/a>. The Tony Award-winning political theater group learned in November of last year that it lost its federal funding following negative coverage from the Alt-Right news site, \u003ca href=\"https://www.kqed.org/arts/13595888/breitbart-mime-troupe-freakout-tests-nea-funding-assumptions\" rel=\"noopener\" target=\"_blank\">Breitbart\u003c/a>. Before then, the troupe had received NEA grants ranging from $15,000-$50,000 almost every year since 1998, which it used for its summer programs. \u003c/p>\n\u003cp>The California Arts Council, the state agency supporting the arts, will receive $1,155,300 for its work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since Congress established the independent federal agency in 1965, the NEA has awarded more than $5 billion in grants for various arts-related projects. \u003c/p>\n\u003cp>Below is a list of this year’s grant recipients in the Bay Area. It should be noted that some of these grant amounts could change.\u003c/p>\n\u003cp>\u003cstrong>826 National\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support 826 Digital, an online platform for educators.\u003c/p>\n\u003cp>\u003cstrong>Abada-Capoeira San Francisco\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support a capoeira residency and performance program for students in San Francisco-area schools.\u003c/p>\n\u003cp>\u003cstrong>Alonzo King LINES Ballet\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and world premiere of a ballet by Alonzo King, in collaboration with the Kronos Quartet.\u003c/p>\n\u003cp>\u003cstrong>Asian American Women Artists Association (aka AAWAA)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Visual Arts\u003cbr>\nTo support the Asian American Women Arts Resource Initiative.\u003c/p>\n\u003cp>\u003cstrong>Bay Area Video Coalition, Inc. (aka BAVC)\u003c/strong>\u003cbr>\n$90,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the program staff, travel, lodging and honoraria expenses associated with the National MediaMaker Fellows Program, dedicated to fostering the careers of nonfiction media artists.\u003c/p>\n\u003cp>\u003cstrong>Center for Asian American Media (aka CAAM)\u003c/strong>\u003cbr>\n$26,500 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the strengthening and development of a peer network and strategic infrastructure for Asian American documentary filmmakers working in the American South.\u003c/p>\n\u003cp>\u003cstrong>City and County of San Francisco, California (on behalf of WritersCorps)\u003c/strong>\u003cbr>\n$30,000 San Francisco, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support San Francisco WritersCorps, a creative writing program focused on youth from underserved communities.\u003c/p>\n\u003cp>\u003cstrong>Crowded Fire Theater Company (aka Crowded Fire)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support a collaboration with the hip-hop orchestra Ensemble Mik NaWooj (EMN), to create a cross- disciplinary, participatory workshop performance.\u003c/p>\n\u003cp>\u003cstrong>Dancers’ Group\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support \u003cem>In Dance\u003c/em>, a free print and online monthly publication that promotes dance artists and activities in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Epiphany Productions Sonic Dance Theater (aka Epiphany Dance Theater)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support San Francisco Trolley Dances in its 15th anniversary year.\u003c/p>\n\u003cp>\u003cstrong>Filipino-American Development Foundation\u003c/strong>\u003cbr>\n$100,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support public art planning and initial project development for the SOMA Pilipinas Cultural District.\u003c/p>\n\u003cp>\u003cstrong>Fresh Meat Productions\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support engagement activities during a national tour of “Boys in Trouble,” by choreographer Sean Dorsey.\u003c/p>\n\u003cp>\u003cstrong>Global Fund For Women Inc.\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support production, post-production, and outreach for a short documentary film series directed by Sharmeen Obaid-Chinoy.\u003c/p>\n\u003cp>\u003cstrong>Independent Television Service, Inc. (aka ITVS)\u003c/strong>\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the selection, acquisition, packaging, and promotion of films for the public television series “Independent Lens.”\u003c/p>\n\u003cp>\u003cstrong>Jess Curtis/Gravity, Inc.\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support artist fees for the creation and presentation of a new dance work by choreographer Jess Curtis about sight and perception.\u003c/p>\n\u003cp>\u003cstrong>Joe Goode Performance Group\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and presentation of a new dance work about safe havens, by choreographer Joe Goode.\u003c/p>\n\u003cp>\u003cstrong>Kitchen Sisters Productions (aka The Kitchen Sisters)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the production of “The Keepers,” a podcast and multimedia series.\u003c/p>\n\u003cp>\u003cstrong>Kronos Performing Arts Association (aka Kronos Quartet)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support Kronos Quartet’s development and implementation of free online resources for music education.\u003c/p>\n\u003cp>\u003cstrong>Kronos Performing Arts Association (aka Kronos Quartet)\u003c/strong>\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Fifty for the Future, a commissioning and education project by Kronos Quartet.\u003c/p>\n\u003cp>\u003cstrong>Margaret Jenkins Dance Studio, Inc. (aka Margaret Jenkins Dance Company)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation of Forty-Five Years, a new work by Margaret Jenkins.\u003c/p>\n\u003cp>\u003cstrong>MEDIATE Art Group (aka Soundwave)\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works To support the Soundwave Biennial.\u003c/p>\n\u003cp>\u003cstrong>Merola Opera Program\u003c/strong>\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works — Opera\u003cbr>\nTo support a professional training program for singers, apprentice coaches, and an apprentice stage director.\u003c/p>\n\u003cp>\u003cstrong>Museum of Performance & Design (aka Museum of Performance + Design)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the digitization of videotapes of live theater performances documenting theater in the San Francisco Bay Area from 1976 to 2001.\u003c/p>\n\u003cp>\u003cstrong>Queer Women of Color Media Arts Project (aka QWOCMAP)\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the workshop instruction, travel costs and workshop expenses associated to the Filmmaker Training Program.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Arts Education Project (aka SFArtsED)\u003c/strong>\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works — Visual Arts\u003cbr>\nTo support an exhibition “The Living Legacy of Ruth Asawa (1926-2013): Artist, Educator, Activist.”\u003c/p>\n\u003cp>\u003cstrong>San Francisco Ballet Association (aka San Francisco Ballet)\u003c/strong>\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and presentation of new ballets and a company premiere.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Chanticleer, Inc. (aka Chanticleer)\u003c/strong>\u003cbr>\n$55,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Chanticleer’s national concert tour and residency program.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Contemporary Music Players (aka SFCMP)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support “Stranger in a Strange Land,” a weekend of music events showcasing the performance of a new work by composer Michael Gordon inspired by Angel Island in the San Francisco Bay.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Dance Film Festival Inc (aka SFDFF)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the San Francisco Dance Film Festival.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Friends of Chamber Music\u003c/strong>\u003cbr>\n$12,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support the annual SFMusic Day of chamber music performances.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Performances, Inc.\u003c/strong>\u003cbr>\n$21,500 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support a music performance presenting project.\u003c/p>\n\u003cp>\u003cstrong>San Francisco State University (aka SFSU)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support The Poetry Center’s reading series.\u003c/p>\n\u003cp>\u003cstrong>SEW Productions, Inc. (aka Lorraine Hansberry Theatre)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the Lorraine Hansberry Theatre’s production of “Unintended Consequences: The Final Days of Negro- Ville,” by Keith Josef Adkins.\u003c/p>\n\u003cp>\u003cstrong>Shakespeare – San Francisco (aka San Francisco Shakespeare Festival)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the San Francisco Shakespeare Festival’s Free Shakespeare in the Park production of “As You Like It.”\u003c/p>\n\u003cp>\u003cstrong>Smuin Ballets-SF (aka Smuin Ballet)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the presentation of dance works as part of the company’s 25th anniversary season.\u003c/p>\n\u003cp>\u003cstrong>Theatre Bay Area (aka TBA)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support a new Equity, Diversity, and Inclusion (EDI) training program for a cohort of Bay Area theaters.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nResearch: Art Works — Research\u003cbr>\nTo support a national study that examines how parks are integrating the arts as strategies to strengthen communities.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support the development of a creative placemaking toolkit for city and county health agencies, a Knowledge Building project.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support performing arts workshops and a community design process for improving parks and open spaces in Camden, New Jersey.\u003c/p>\n\u003cp>\u003cstrong>Yerba Buena Center for the Arts (aka YBCA)\u003c/strong>\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of exhibitions, performances, and films.\u003c/p>\n\u003cp>\u003cstrong>Youth Speaks, Inc.\u003c/strong>\u003cbr>\n$100,000 San Francisco, CA\u003cbr>\nCreativity Connects — Creativity Connects\u003cbr>\nTo support \u003cem>The Bigger Picture\u003c/em>, a spoken word performance program presented in partnership with the University of California San Francisco Center for Vulnerable Populations.\u003c/p>\n\u003cp>\u003cstrong>Youth Speaks, Inc.\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support the Brave New Voices Festival.\u003c/p>\n\u003cp>\u003cstrong>Berkeley Society for the Preservation of Traditional Music, Inc. (aka Freight & Salvage)\u003c/strong>\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support The Freight & Salvage: Playing with Tradition music festival.\u003c/p>\n\u003cp>\u003cstrong>Berkeley Symphony Orchestra (aka Berkeley Symphony)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support the Music in the Schools initiative.\u003c/p>\n\u003cp>\u003cstrong>California Shakespeare Theater (aka Cal Shakes)\u003c/strong>\u003cbr>\n$30,000 Berkeley, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the regional premiere of “Everybody,” written by Branden Jacobs-Jenkins.\u003c/p>\n\u003cp>\u003cstrong>David Brower Center\u003c/strong>\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support an arts education program connecting high school students with Bay Area artists.\u003c/p>\n\u003cp>\u003cstrong>Gamelan Sekar Jaya\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Folk & Traditional Arts\u003cbr>\nTo support artist residencies with master artists from Bali, Indonesia.\u003c/p>\n\u003cp>\u003cstrong>Kala Institute\u003c/strong>\u003cbr>\n$22,500 Berkeley, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support an artist-in-residence program for media artists.\u003c/p>\n\u003cp>\u003cstrong>La Pena Cultural Center, Inc.\u003c/strong>\u003cbr>\n$25,000 Berkeley, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support a multidisciplinary performing arts series.\u003c/p>\n\u003cp>\u003cstrong>Luna Kids Dance (aka Luna Dance Institute)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA Art Works — Arts Education\u003cbr>\nTo support professional development activities.\u003c/p>\n\u003cp>\u003cstrong>National Novel Writing Month (aka NaNoWriMo)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support a redesign of the National Novel Writing Month website.\u003c/p>\n\u003cp>\u003cstrong>Regents of the University of California at Berkeley (on behalf of Cal Performances)\u003c/strong>\u003cbr>\n$35,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support an artist-in-residence project by the London-based Philharmonia Orchestra at Cal Performances.\u003c/p>\n\u003cp>\u003cstrong>West Edge Opera\u003c/strong>\u003cbr>\n$10,000 Berkeley, CA\u003cbr>\nArt Works — Opera\u003cbr>\nTo support performances of “Mata Hari” by composer Matt Marks and librettist Paul Peers.\u003c/p>\n\u003cp>\u003cstrong>Cantare Con Vivo\u003c/strong>\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support the Children’s Choirs of Oakland program.\u003c/p>\n\u003cp>\u003cstrong>Crosspulse\u003c/strong>\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the development, creation, and production of a multigenerational, collaborative Body Music performance and interactive production, PASS IT DOWN.\u003c/p>\n\u003cp>\u003cstrong>Dimensions Dance Theater, Inc.\u003c/strong>\u003cbr>\n$25,000 Oakland, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the Rites of Passage dance education program for youth.\u003c/p>\n\u003cp>\u003cstrong>Friends of Peralta Hacienda Historical Park (aka Peralta Hacienda)\u003c/strong>\u003cbr>\n$56,000 Oakland, CA\u003cbr>\nCreativity Connects — Creativity Connects\u003cbr>\nTo support the design, creation, and dissemination of art works that will reflect the stories of day laborers, a partnership with Street Level Health Project.\u003c/p>\n\u003cp>\u003cstrong>International Society for the Arts, Sciences and Technology (aka Leonardo/ISAST)\u003c/strong>\u003cbr>\n$20,000 Oakland, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support residencies for artists and scientists.\u003c/p>\n\u003cp>\u003cstrong>Kitka, Inc. (aka Kitka Women’s Vocal Ensemble)\u003c/strong>\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Evening Star, a project based on Eastern European folk and spiritual traditions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Purple Silk Music Education Foundation, Inc. (aka Purple Silk Music Education Foundation)\u003c/strong>\u003cbr>\n$20,000 Oakland, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support a year-long intensive music instruction program for youth.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13831888/nea-awards-1-7-million-in-grants-to-bay-area-organizations","authors":["93"],"programs":["arts_1272"],"categories":["arts_1","arts_235"],"tags":["arts_1448","arts_1730","arts_596"],"featImg":"arts_13831908","label":"arts_1272"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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